S 


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ON  FREE  VIEW 


[MtuL 

~1/\  aAM^ 


AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 
NEW  YORK 


BEGINNING  SATURDAY,  NOVEMBER  4th,  1916 
AND  CONTINUING  UNTIL  THE  DATE  OF  PUBLIC  SALE 


RARE  JAPANESE  COLOR  PRINTS 

THE  PRIVATE  COLLECTION 

OF 

MR.  JUDSON  D.  METZGAR 


im tVlW  A 

,  j.  Li : 

L  (Mt)  ' 

TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 


ON  THE  AFTERNOON  AND  EVENING  OF 

MONDAY,  NOVEMBER  13th 

AT  2:30  AND  8:00  O’CLOCK 
CONCLUDING 

TUESDAY  AFTERNOON,  NOVEMBER  14th 

AT  2:30  O’CLOCK 


AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 

I  i  Lr 


FOREWORD 


The  dispersal  of  Mr.  Metzgar’s  collection  of  Japanese  color-prints  af¬ 
fords  another  rare  opportunity  to  acquire  choice  impressions  of  important 
works  by  some  of  the  great  masters  of  the  Ukiyoe  school. 

The  supply  of  prints  that  for  nearly  a  quarter  of  a  century  came  from 
Japan  in  a  seemingly  never-ending  stream,  has  been  rapidly  dwindling  for 
several  years  past  and  now  has  virtually  ceased  to  be  a  factor  in  the  market. 
And,  although  many  thousands  of  prints  were  sent  to  America  and  Europe 
while  the  tide  was  at  its  Hood,  nearly  all  the  finer  ones  have  gradually  found 
lodgment  in  a  comparatively  few  collections.  The  oivners  of  these  collections 
were  the  first  to  perceive  that  while  the  number  of  prints  in  existence  is  very 
large,  of  the  master  works,  only  a  very  few  of  the  most  beautiful  impressions 
have  survived  in  fine  condition.  These  are  the  treasures  that  yield  the  art- 
lover  abiding  joy. 

That  all  of  Mr.  Metzgar’s  prints  are  of  this  class,  be  would  be  the  first 
one  to  disclaim ;  but  in  gathering  them  he  has  constantly  kept  in  view  the 
desirability  of  securing  the  best  impressions  he  could  find.  His  special  en¬ 
deavor  has  been  to  acquire  choice  prints  by  Hiroshige,  and  in  particular  to 
perfect  his  set  of  the  so-called  “first”  Tokaido  series.  How  difficult  it  is 
to  make  up  a  set  such  as  the  one  included  in  this  sale  will  be  better  understood 
when  it  is  learned  that  for  years  Mr.  Metzgar  has  been  indefatigable  in  his 
search,  not  only  watching  carefully  the  stocks  of  dealers,  but  the  sales  by 
auction  in  Japan  and  Europe  as  well  as  in  America,  and  frequently  buying 
entire  sets  in  order  to  get  from  each  only  one  or  two  prints  out  of  the 
fi  f  ty-five. 

The  same  method  and  the  same  care  have  been  exercised  in  getting  to¬ 
gether  the  fine  prints  of  the  “Hundred  Edo  Views,”  and  other  series  which 
he  has  now  decided  to  give  other  collectors  the  opportunity  to  acquire.  Of 
especial  importance  are  several  proof  impressions  of  prints  of  the  “upright” 
Tokaido  and  Yedo  series,  on  surimono  paper,  mostly  in  tones  of  blue.  Note¬ 
worthy  also  are  the  charming  Kwa-cho  (Flower  and  Bird)  prints,  an  excep¬ 
tionally  fine  lot,  including  several  of  very  distinguished  design,  and  what  are 
perhaps  the  supreme  impressions  of  one  or  two  of  the  items.  Taking  them  al¬ 
together,  not  since  the  Happer  Sale,  has  a  finer  lot  of  Hiroshige  prints  been 
put  up  at  auction. 

Besides  the  Hiroshiges  the  collection  includes  many  desirable  prints  by 
other  masters  which  it  would  take  too  much  space  to  specify  in  this  fore¬ 
word.  Attention  should,  however,  be  directed  to  the  unusual  group  of  pillar 
prints  in  remarkable  condition.  These  prints  were  generally  mounted  as 
Kakemono  and  suffered  from  long  exposure  to  light  and  smoke  and  the 
ravages  of  insects,  so  that  they  are  rarely  found  in  satisfactory  state.  Mr. 
Metzgar  has  been  fortunate  in  getting  hold  of  so  many  choice  ones. 

FREDERICK  W.  GOOKIN. 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/metzgarcollectioOOamer 


INTRODUCTORY  SURVEY 


By  ARTHUR  DAVISON  FICKE„  Author  of  “CHATS  ON  JAPANESE 
PRINTS,”  “  TWELVE  JAPANESE  PAINTERS,”  etc. 

(Reprinted,  ivith  modifications,  from  “ Scribners  Magazine.” ) 

I 

Late  fruits  though  Japanese  prints  are  of  the  great  tradition  of  Asian  art 
they  preserve,  to  an  extent  sufficiently  striking  for  Western  minds,  the  ancient  Asian 
cannon  of  ideality  as  distinguished  from  realism.  One  may  even  at  first  sight  view 
them  with  an  aggrieved  feeling  that  no  man  should  pretend  to  he  an  artist  if  he 
draws  the  human  figure  as  inaccurately  as  do  these  designers.  But  eventually 
one  realizes  that  to  draw  the  human  figure  accurately  wTas  the  very  last  thing  these 
artists  cared  about.  And  gradually  the  wisdom  of  Asia  may  come  to  us,  and  we 
shall  understand  that  it  is  the  spiritual  impact  of  reality  on  the  artist’s  emotion, 
not  his  scientific  observation  of  reality,  that  is  his  chosen  and  proper  theme. 

It  is  this  unrealistic  quality  which  relates  Japanese  prints  not  only  to  the 
Primitives  of  Greece  and  Italy  and  Egypt,  but  also  to  even  the  most  reckless  modern 
adventures  in  futuristic  painting :  in  common,  they  aim  at  the  production  of  forms 
which  shall  convey  not  the  facts  of  life  but  the  emotions  awakened  by  life,  and 
abstract  conceptions  that  exist  in  a  region  a  little  apart  from  the  main  channel  of 
ordinary  living.  The  figure  of  a  woman,  as  treated  by  these  artists,  is  not  merely 
the  memory  of  a  possible  object  of  desire  or  devotion ;  it  is  also  the  embodiment  of 
impersonal  formal  meanings — relations  of  line  and  mass,  harmonies  and  rhythms,  an¬ 
titheses  and  echoes — that  have  no  direct  window  opening  upon  incidents  of  human 
experience.  The  childish  mind  loves  pictures  that  merely  tell  a  story ;  but  the  more 
sophisticated  intelligence  goes  to  a  work  of  art  for  those  elements  which  lie  far  be¬ 
yond  the  region  of  episodic  narration — elements  that  are  allied  to  the  principles  of 
geometry,  the  excursions  of  pure  music,  the  visions  of  religious  faith. 

II 

Not  least  successful  among  Japanese  print-designers,  in  this  attempt  at  the 
expression  of  patterned  perfection,  were  those  earliest  men  who,  working  in  the  one 
hundred  years  preceding  17G4,  have  been  given  the  name  of  the  Primitives.  In 

such  prints  as  those  of  the  great  pioneer  Moronobu  (Nos.  1-3)  of  Toyonobu  (No. 

14-15),  Kiyomasu  (Nos.  261-262),  Masanobu  (Nos.  4-11),  Iviyomitsu  (Nos.  16-19), 
and  that  very  rare  artist  Kiyosato  (No.  20),  may  be  seen  such  qualities  of  rhythmic 
composition,  of  sweep  and  flow  and  sway,  as  were  never  surpassed  in  later  times. 
In  all  this  work  the  figure  is  simplified  beyond  any  trace  of  realism ;  it  is  purely  a 
motif  of  movement — the  shadow'  of  a  dream  of  form  projected  by  the  luminous  spirit 
of  the  artist  against  the  wall  of  space.  The  work  of  all  these  men  is  of  great  rarity 
and  great  importance. 

The  Primitives  worked  at  first  in  black  and  white  only;  (No.  1)  ;  then  it  became 
the  custom  to  color  prints  by  hand,  (No.  259)  ;  and  it  was  not  until  about  1742  that 
the  true  color-print  was  produced.  At  first  two  blocks  only  were  employed  (No.  260)  ; 
then  the  number  grew  to  three  (Nos.  267,  14).  It  requires  a  still  further  interval 

before  Harunobu,  in  the  year  1764,  issued  the  first  print  in  which  an  unlimited 

number  of  colors  could  be  employed. 

Harunobu  stands  out  as  one  of  the  most  unfailingly  delightful  artists  of  the 
whole  school.  His  delicate  girl-figures  have  not  the  broad  decorative  strength  of 


the  Primitives ;  but  for  subtlety  of  pose,  for  sweetness  of  motion,  they  are  unequalled. 
Ilis  aristocratic  distinction  of  feeling  is  manifest  in  the  refinement  of  every  line; 
and  in  color  he  was  not  only  the  pioneer,  but  perhaps  also  the  unsurpassed  master. 
The  fragile,  fluttering  figures  of  his  women  seem  creatures  of  a  charming  dream¬ 
world  ;  like  the  women  of  Botticelli,  they  poise  in  an  atmosphere  of  more  rarified 
loveliness  than  anything  we  know  in  reality. 

Harunobu’s  small  square  prints  are  distinguished  by  a  delicacy  of  color  and  line 
that  is  almost  matchless.  (Nos.  22-30).  His  pillar-prints  are  among  the  greatest 
triumphs  that  this  form  of  composition  has  known  (Nos.  273-278).  In  these,  as 
Fenollosa  says,  “He  passes  transfigured  from  our  vision.” 

Contemporaneous  with  Harunobu  was  the  great  school  of  actor-painters,  whose 
work  is  distinguished  by  a  monumental  force  and  dignity.  Shunsho  (Nos.  41-50,  2S0- 
289),  Sliunko  (Nos.  290-293),  Shunyei  (Nos.  503-508)  and  Bunclio  (No.  51)  all  pro¬ 
duced  designs  that  are  the  apotheosis  of  vigorous  characterization  and  superb  color. 
Only  an  inexperienced  eye  will  overlook  the  extraordinary  aesthetic  quality  that 
marks  these  sometimes  ferocious  representations.  They  have  the  vigor  of  those  natural 
forces — waves,  river-currents,  storms,  and  thunder — which  so  often  form  their  back¬ 
grounds. 

Koriusai,  also,  was  of  this  time.  His  distinctive  glory  lies  in  the  sphere  of  pillar 
prints,  of  which  this  collection  contains  a  number  of  superb  examples  (Nos.  31-40, 
509-517).  This  form  of  composition  is  one  of  the  most  interesting  and  difficult  to 
be  found  in  the  art  of  any  race.  It  exacts  the  quintessence  of  selection — one  narrow 
glimpse  of  some  cross-section  of  life.  It  became  a  favorite  shape  among  the  greatest 
of  the  print  artists ;  and  no  small  number  of  their  supreme  achievements  are  in  this 
form.  To  the  modern  European  eye,  no  other  seems  so  distinctively  characteristic 
of  the  special  Japanese  genius.  Pillar-prints  are  almost  invariably  works  of  the  first 
importance — pieces  cle  resistance,  deliberate  and  studied  productions,  representing 
the  best  effort  and  highest  powers  of  the  artist.  They  are  today  far  rarer  than  prints 
of  the  square  variety.  The  Metzgar  Collection  is  especially  marked  by  the  large  number 
that  it  contains. 

A  new  era  began  in  1780,  when  that  most  superb  designer  Iviyonaga  became  the 
central  figure.  Iviyonaga  marks  the  apex  of  the  technical  development  of  the  art 
and  perhaps  the  apex  of  its  spiritual  significance.  Freed  from  the  mechanical  limit¬ 
ations  of  the  Primitives,  and  seeing  visions  of  greater  scope  than  Harunobu,  he  created 
such  Olympian  figures  as  remind  us  of  nothing  so  much  as  of  faint  memories  of 
the  Greek  gods.  His  triptychs  are  his  most  important  works;  they  are  triumphs  of 
intricate  composition  (No.  300).  In  his  pillar-prints,  a  field  where  none  excelled  him, 
his  lordly  and  serene  figures  are  at  their  best  (Nos.  54-63).  He  pushed  the  tendency 
toward  naturalism  as  far  as  it  can  wisely  be  pushed;  his  designs  are  interpretations 
of  the  real  forms  of  actual  men  and  women,  but  interpretations  in  which  reality  is 
dominated  by  the  magnificent  imagination  of  the  artist.  Iviyonaga  saw  nature  with 
clear  eyes;  and  on  the  solid  foundation  of  observed  fact  he  reared  the  noble  structure 
of  his  vision  of  life — a  vision  in  which  the  world  is  peopled  by  a  large-limbed,  superb, 
and  gracious  race  such  as  the  human  race  is  not  but  ought  to  be. 

Iviyonaga’s  influence  was  enormous.  All  the  greatest  designers  of  his  time  were 
affected  by  it.  Shuncho  (Nos.  64-66,  317-323),  Shunman  (No.  344),  Ivitao  Masanobu 
(Nos.  308-316),  Yeishi  (Nos.  67-72,  522-531)  and  Clioki  (Nos.  303-307)  were  all 
followers  of  his;  though  often  thoroughly  individual  ones.  Yeishi,  in  particular,  as 
appears  from  such  prints  as  No.  530  and  No.  525,  was  master  of  a  curiously  fresh 
poetic  quality. 

In  the  years  following  Iviyonaga's  retirement,  in  1790,  there  arose  a  new  group 
of  artists  who,  headed  by  such  men  as  the  brilliant  Ftamaro.  the  sardonic  Sharaku. 
and  the  versatile  Toyokuni,  produced  designs  in  which  the  most  subtle  and  many- 
sided  originality  was  accompanied  by  the  first  hints  of  a  coming  decadence.  Realism 


on  the  one  hand,  and  unbridled  fantastic  eccentricities  on  the  other,  became  marked : 
and  the  over-strung  and  satiated  temper  of  a  new  age  began  to  manifest  itself  in 
figures  whose  sinuous  languor  and  weary,  sensuous  provocativeness  had  an  almost 
pathological  significance  (No.  543).  There  is  something  feverish  and  perverse  about 
many  of  these  end-of-tlie-century  designs.  True,  the  utmost  expressiveness,  the  utmost 
beauty,  still  marked  them,  and  at  least  one  actor  by  Toyokuni  (No.  327)  has  a  savage 
intensity  of  ironic  characterization  and  a  splendor  of  design  that  are  notable.  Also 
certain  prints  by  Utamaro  (Nos.  536,  538,  539,  548,  546)  can  hardly  be  said  to  have 
been  surpassed  by  any  earlier  work.  They  are  the  flawless  expression  of  the  mortal 
body’s  longing  for  a  more  than  mortal  perfection  of  happiness ;  the  soul's  utter  weari¬ 
ness  looks  out  from  them.  But  the  morbid  loveliness  here  so  admirably  mastered 
was  a  perilous  soil  from  which  to  expect  further  and  vigorous  growths. 

So  history  proved.  Upon  the  death  of  Utamaro,  in  1806,  the  art  disintegrated. 
Speaking  generally,  no  fine  figure  prints  were  produced  after  that  year.  And,  it  may 
be  noted,  it  is  almost  exclusively  the  prints  of  this  following  decadent  period  that 
are  known  to  the  tourist  and  the  general  public.  They  are  garish  and  degenerate 
products,  crude  in  color  and  meaningless  in  form;  they  can  serve  only  to  obscure  the 
greatness  of  the  earlier  masters.  The  Metzgar  Collection  contains  no  representatives 
of  this  uninteresting  type. 

Curiously  enough,  however,  the  period  between  1806  and  1S58  gave  us  the  finest 
of  all  landscape  prints,  as  though  a  fresh  and  vigorous  branch  had  suddenly  shot  up 
from  the  trunk  of  a  decaying  tree.  Hokusai  and  Hiroshige  are  the  two  names  with 
whom  this  renaissance  of  landscape  must  chiefly  be  associated.  Because  of  their 
enormous  productiveness  and  comparatively  late  date,  their  work  is  better  known  in 
the  West  than  that  of  any  other  artists — a  fact  which  gives  them  an  undue  import¬ 
ance  in  Western  minds.  Hokusai,  in  particular,  has  been  grossly  overrated  by 
persons  unfamiliar  with  his  predecessors.  Some  Westerners  still  believe  Hokusai 
to  mark  the  supreme  pinnacle  of  all  Chinese  and  Japanese  art — a  view  which  would 
strike  a  Japanese  connoisseur  absolutely  dumb  with  astonishment.  Nevertheless,  in 
spite  of  much  trivial  work  that  Hokusai  did,  his  real  greatness  is  on  occasion  indis¬ 
putable;  in  his  superb  series  of  views  of  Fuji,  (Nos.  579-589),  he  rises  to  an  extra¬ 
ordinary  height.  His  contemporary,  Hiroshige,  in  whose  work  this  collection  is  par¬ 
ticularly  rich,  is  the  easiest  of  all  Japanese  artists  for  the  foreign  mind  to  under¬ 
stand.  His  landscapes  are  vivid  and  decorative  expressions  of  lyric  moods;  he  does 
not  attempt  to  transcribe  a  scene  literally,  but  gives  us,  by  means  of  a  few  subtly 
chosen  and  significantly  arranged  details,  the  emotion  which  a  scene  awakens  in 
him.  His  renderings  of  light  and  atmosphere,  of  rain  and  snow,  are  justly  famous. 
As  a  whole  his  prints  must  stand  beside  the  “Liber  Studiorum”  of  Turner ;  they  con¬ 
stitute  perhaps  the  most  complete  and  splendid  landscape  record  that  any  land  has 
ever  had.  Practically  all  his  greatest  series,  such  as  The  Great  Tokaido  (Nos.  SI  to 
159),  The  Eight  Views  of  Lake  Biwa  (Nos.  685  to  693),  The  Hundred  Views  of  Yedo 
(Nos.  352  to  433),  and  The  Kisokaido  (Nos.  659  to  6S4),  will  be  found  in  this  collection, 
together  with  a  large  number  of  his  exquisite  bird-and-flower  designs. 

Ill 

“Prints”  one  has  to  call  these  works;  yet  the  name  is  unfortunate,  since  it  sug¬ 
gests  a  hard,  mechanical  process  of  creation.  As  a  matter  of  fact,  it  would  be  more 
accurate  to  call  them  “wood-block  paintings.”  They  were  produced  from  a  series  of 
engraved  cherry  plates,  one  plate  being  provided  for  each  of  the  colors  employed. 
To  these  plates  the  appropriate  pigments  were  applied  by  means  of  a  brush,  and  care¬ 
fully  shaded  as  the  requirements  of  the  picture  demanded ;  and,  finally,  a  sheet  of 
soft  absorbent  paper  was  accurately  impressed  by  hand  on  each  of  the  plates  suc¬ 
cessively.  Three  men  thus  collaborated  to  produce  each  picture — the  artist,  who 
designed  the  original  drawing  from  which  the  plates  were  made,  and  who  was  the 
responsible  and  important  member  of  the  trio;  the  engraver,  who  cut  the  wood- 


blocks;  and  the  printer  and  colorist,  who  tinted  the  blocks  and  impressed  the  sheets. 
Striking  differences  exist  between  different  copies  of  the  same  print,  due  solely  to 
differences  in  printing.  Late  and  careless  impressions  serve  only  to  belie  designs 
which  in  delicately  printed  impressions  are  of  the  most  surpassing  beauty.  Hiro¬ 
shige’s  work,  especially,  suffers  from  this  misfortune,  and  though  poor  examples  of 
his  prints  are  numerous,  the  really  good  ones  are  rare.  The  Metzgar  Collection  con¬ 
tains  scarcely  a  single  poor  impression,  and  many  that  are  of  unique  perfection. 
Such  sheets  as  Nos.  210-244-248-500-6G6-671-695-718  and  most  of  the  Tokaido  and 
Yedo  series  are  of  an  exceptional  quality. 

The  ordinary  Japanese  print  of  commerce  is  generally  without  value;  acquaint¬ 
ance  with  the  finer  examples  soon  leads  its  owner  to  throw  it  away.  It  has  no  re- 
lation  to  the  great  Japanese  prints  whose  deserved  fame  sheds,  for  the  unwary 
tourist  and  collector,  a  fictitious  glamor  over  all  the  rubbish  of  Japan.  There  exist, 
however,  in  Boston,  Chicago,  New  York  and  other  American  cities,  collections  of 
Japanese  prints  which  can  be  compared  in  importance  only  to  the  Italian  paintings 
in  the  Louvre  or  the  Greek  sculptures  of  the  Bi-itish  Museum.  This  is  fortunate; 
for  within  our  lifetimes  the  masterpieces  of  this  art  will  be  as  unprocurable  as  fine 
Greek  sculpture  is  today ;  and  we  shall  need  them.  It  is  not  uni’easonable  to  imagine 
that  there  will  come  a  time  when  we  shall  find  ourselves  turning  to  the  arts  of  the 
East,  as  Goethe  turned  to  the  classical  antique,  for  an  inspiration  and  liberation  that 
is  possible  only  from  contact  with  an  art  whose  foundations  are  based  on  deep  per¬ 
ceptions  of  formal  order,  and  not  on  the  shifting  sands  of  realism  or  sentimentality. 


Note.— The  Hiroshige  prints  in  this  catalogue  have  been  described  by  the  owner  of 
the  collection;  the  figure-prints  by  Mr.  Arthur  Davison  Ficke. 


CONDITIONS  OF  SALE 


1.  Any  bid  which  is  merely  a  nominal  or  fractional  advance  may  be  rejected 
by  the  auctioneer,  if,  in  his  judgment,  such  bid  would  be  likely  to  affect  the  sale 
injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any  dispute  arises  between  two 
or  more  bidders,  the  auctioneer  shall  either  decide  the  same  or  put  up  for  re-sale  the 
lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  purchase  money  as  may  be 
required,  and  the  names  and  addresses  of  the  purchasers  shall  be  given  immediately 
on  the  sale  of  every  lot.  in  default  of  which  the  lot  so  purchased  shall  be  immediately 
put  up  again  and  re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at  the  time  of  sale  shall 
be  made  within  ten  days  thereafter,  in  default  of  which  the  undersigned  may  either 
continue  to  hold  the  lots  at  the  risk  of  the  purchaser  and  take  such  action  as  may 
be  necessary  for  the  enforcement  of  the  sale,  or  may  at  public  or  private  sale,  and 
without  other  than  this  notice,  re-sell  the  lots  for  the  benefit  of  such  purchaser,  and 
the  deficiency  (if  any)  arising  from  such  re-sale  shall  be  a  charge  against  such 
purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  payment  of  the  total  amount 
due  for  all  purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of  9  A.  M.  and  1  P.  M.. 
and  on  other  days — except  holidays — between  the  hours  of  9  A.  M.  and  5  P.  M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American  Art  Galleries,  or 
other  place  of  sale,  as  the  case  may  be,  and  only  on  presenting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association,  of  any  purchase  during 
the  session  of  the  sale  at  which  it  was  sold. 

5.  Shipping,  boxing  or  wrapping  of  purchases  is  a  business  in  which  the  Asso¬ 
ciation  is  in  no  wise  engaged,  and  will  not  be  performed  by  the  Association  for  pur¬ 
chasers.  The  Association  will,  however,  afford  the  purchasers  every  facility  for  em¬ 
ploying  at  current  and  reasonable  rates  carriers  and  packers;  doing  so,  however, 
without  any  assumption  of  responsibility  on  its  part  for  the  acts  and  charges  of  the 
parties  engaged  for  such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of  the  purchaser.  Title 
passes  upon  the  fall  of  the  auctioneer’s  hammer,  and  thereafter,  while  the  Associa¬ 
tion  will  exercise  due  caution  in  caring  for  and  delivering  such  purchase,  it  will 
not  hold  itself  responsible  if  such  purchase  be  lost,  stolen,  damaged  or  destroyed. 

Storage  charges  will  be  made  upon  all  purchases  not  x*emoved  within  ten  days 
from  the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  by  either  the  owner  or  the  Association  of  the  correct¬ 
ness  of  the  description,  genuineness  or  authenticity  of  any  lot,  and  no  sale  will  be 
set  aside  on  account  of  any  incorrectness,  error  of  cataloguing,  or  any  imperfection 
not  noted.  Every  lot  is  on  public  exhibition  one  or  more  days  prior  to  its  sale,  after 
which  it  is  sold  “as  is”  and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot  correctly,  and  will 
give  consideration  to  the  opinion  of  any  trust-worthy  expert  to  the  effect  that  any 
lot  has  been  incorrectly  catalogued,  and.  in  its  judgment,  may  either  sell  the  lot  as 
catalogued  or  make  mention  of  the  opinion  of  such  expert,  who  thereby  would  become 
responsible  for  such  damage  as  might  result  were  his  opinion  without  proper 
foundation. 

AMERICAN  ART  ASSOCIATION, 

American  Art  Galleries, 

Madison  Square  South. 

New  York  City. 


CATALOGUE 


First  Afternoon  Session 

At  the  American  Art  Galleries 
November  13,  1916 
Beginning  at  2:30  o  ’clock 


MORONOBU 

(Worked  c.  1660-1100) 


'  s' 

W.  si  ; 

si  lii 02  -mrio  frnm  «  hrnv.ipr  wVnnVi  q< 


.  A  Man  on  a  Veranda. 

Pie  is  holding  a  woman  on  his  lap ;  he  lights  his  pipe  from  a  brazier  which 
young  servant  holds.  A  miniature  rock-garden  appears  to  the  right. 
Full-size  horizontal  sheet.  Unsigned.  Printed  in  hlack-and-wliite.  A  fine  and 
rate  print,  in  beautiful  condition. 

(Illustrated,  plate  1) 


2.  Two  Women  in  Flowing  Robes. 

They  are  kneeling  before  an  old  man  with  a  hood.  Interior. 

/  Cf  Full-size  horizontal  sheet,  composed  of  two  single-sheet  book-illustrations  joined 
together.  Colored  slightly  by  hand,  with  yellow  and  orange.  Unsigned. 

3.  Two  Book-illustrations. 

Each  representing  two  women,  with  suggestions  of  landscape  background. 
/  0  ,  Size  8x6  each.  Colored  by  hand.  Unsigned. 


4. 


OKUMURA  MASANOBU 

(c.  1685-1761,) 

Two  Courtesans  and  their  Servants. 

They  are  attempting  to  detain  two  passing  Samurai. 
Full-size  horizontal  sheet.  In  black-and-white.  Unsigned. 


a. 


/7 


/  • 


5.  Passers-by  Talking  with  Two  Courtesans. 

Full-size  horizontal  sheet.  In  black-and-white.  Unsigned. 


(i. 


7 


A  Chinese  Warrior  Attacking  a  Dragon. 

An  equestrian  crosses  the  bridge  overhead. 

Full-size  horizontal  sheet.  Colored  by  hand.  Unsigned. 


7.  A  Young  Samurai  Bearing  an  Umbrella. 


3^ 


'h  .  .v  ... 

lie  approaches  a  gate.  Snowy  landscape  background. 
Full-size  horizontal  sheet.  Colored  by  hand.  Unsigned. 


First  Afternoon  Session 


■j 


S'  (JO 
& 


JTO. 


/*±° 


JA. 


8.  A  Noble  Lady  on  a  Veranda. 


She  is  attended  by  her  servant.  Outside  in  the  garden  two  Samurai  crouch 
behind  a  hedge.  A  stream  in  the  background. 

Full-size  horizontal  sheet.  Colored  by  hand.  Unsigned. 


9.  Two  Girls  Boating’  in  an  Enormous  Saki  Cup. 

On  shore,  a  Samurai  leans  against  a  large  jar. 

Full-size  horizontal  sheet.  Colored  by  hand.  Unsigned. 


cf  £ 


10.  A  Woman  and  a  Mythical  Male  Figure. 

Full-size  horizontal  sheet.  Colored  by  hand.  Unsigned. 


11.  The  Great  Statesman  and  Humanist,  Sugawara  no 
Michizane.  . 

He  is  seated  on  a  dais  under  the  mingled  branches  of  a  pine  tree  and  a 
plum  tree. 

An  exceptionally  large  upright  sheet,  26x10 ;  hand-colored  with  lacquer.  A  very 
important  print ,  in  excellent  condition.  Signed — “Hogetsudo  Tanchosai 
Okumura  Shimmyo  Bungaku  Masanobu.” 

“Une  estampe  de  Masanobu  reprc sente  Sugawara  no  Michizane,  noble  de  la  fin 
du  IX  sidcle,  en  costume  de  cour,  il  trone  sur  une  estrade  basse,  ay  ant  a  cote  de  lui 
une  branch  e  de  pin  et  un  prunier  en  f I  curs.  Exile,  a  la  suite  d’intrigues  de  Cour , 
bien  qu’il  fdt  favori  de  V Empereur,  il  dut  quitter  Kyoto  oai  temps  de  la  floraison  des 
pruniers.  C’dttaient  les  fleurs  favorites  de  son  jar  din ,  oil  se  dressait  un  “ pavilion  du 
prunier  rose.”  Sa  poesic  d’adieux  d  ses  fleurs,  tout  Japonais,  aujourd'hui  encore,  la 
cannatt  par  coeur: 

Sous  la  brise  de  VEst, 

Brillez  de  tout  votre  dclat. 

0  fleurs  de  prunier; 

Bien  que  n’ayant  plus  de  maitre, 

X'oubliez  pas  le  printemps. 

.  .  .  Et  comme  dans  la  poesie  japonaise  le  prunier  est  tou jours  assort#  au  pin, 

la  Idgende  joignit  un  vieux  pin  au  prunier  fiddle,  et  tous  deux  symbolisdrent  les  esprits 
des  serviteurs  qui  n'avaient  pas  abandonne  lour  maitre.” 

Louis  Albert. 

(Illustrated,  plate  IX) 


TOSHINOBU 

(Worked  c.  1780-171,0) 


12.  An  Actor  as  a  Seated  Woman  Playing  the  Lute. 

Size  10x6.  Hand-colored  with  lacquer  and  metallic  powder. 


13. 


An  Actor  as  a  Man, 

He  is  seated  at  the  edge  of  a  veranda  performing  the  tea  ceremony. 
Size  12x6.  Hand-colored  with  lacquer  and  metallic  powder. 


First  Afternoon  Session 


TOYONOBU 

(1711-1785) 


it 


14.  Young  Noble  Carrying  his  Mistress  through  the  Fields. 

A  brook  Hows  at  his  feet,  a  tree  arches  overhead. 
sSZ.  Pillar-print;  three  colors,  with  much  over-printing.  In  an  altogether  exceptional 
state  of  preservation,  unaltered  by  time. 


15. 


'  “  * 

Girl  Leaping  from  the  Balcony  of  Kiyomidzu  Temple. 

She  is  using  an  umbrella  as  a  parachute. 

Pillar-print;  three-color.  The  circular  rhythms  of  the  design  are  notable. 


16. 


KIYOMITSU 

(1735-1785) 

Two  Actors  as  Minstrels  Wearing  Basket  Hats,  yf ' f 

Size  11x5.  Printed  in  two  colors. 


17. 


Two  Actors.  A. 

The  Actor  Otani  Oniji  as  a  man  and  the  Actor  Onoye  Matsusuke  as/ a 
woman ;  he  carrying  a  lacquer  box  and  she  a  drum. 

Size  11x5.  Printed  in  three  colors.  In  remarkable  condition. 


18. 


The  Legendary  Poetess  Murasaki  Shikibu. 


She  is  seated  on  the  balcony  of  the  temple  of  Isliiyamadera,  overlooking 
Lake  Biwa,  writing  a  poem;  in  the  background,  a  mountainous  landscape 
with  moon. 

Pillar-print.;  three-  color.  All  Kiyomitsu's  pillar-prints  are  rare  and  fine. 


19.  A  Standing  Courtesan. 


t/. 


She  is  clad  in  a  translucent  robe  of  blue  and  pink  and  is  engaged  in  tying  her 
girdle. 

Pillar-print;  three-color.  The  rhythm  of  the  draperies  and  the  poise  of  the  figure 
are  characteristic  of  Kiyomitsu  at  his  best. 


KIYOSATO 

(Worked  c.  1740-1760) 


20.  Child  and  Woman  Carrying  a  Plum-branch.  '  /  / 


Pillar-print;  three-color.  Kiyosato  is  an  exceptionally  rare  artist,  of  whom  almost 
nothing  is  known. 


First  Afternoon  Session 


HARUYUKI 

(Worked  c.  1750-1770) 


<fZf- 


21.  Slioki  the  Demon-queller.  r  fy 

Pillar-print;  three-color.  Powerful  line-work.  /*' 

This  artist  is  an  unknown  man  whose  work  is  of  exceptional  rarity. 


HARUNOBU 

(1725-1770) 

>0 

22.  Interior,  Opening-  on  a  Garden. 

A  courtesan  is  leading  a  man  in  the  foreground. 

Size  SxlO.  Unsigned.  The  rich  and  clear  color  illustrates  the  new  effect  pro¬ 
duced  by  Harunobu’s  great  discovery  of  polychrome  printing. 


7-? 


// 


2.1.  A  Courtesan.  A 

She  is  being  served  with  tea  by  a  young  waitress ;  in  the  background, 
a  Temple  Torii. 

Size  11x8.  The  waitress  is  the  famous  O-sen  of  Kagiya  tea-house  at  Kasamori 
Temple,  whom  Harunobu  so  often  and  so  romatically  depicted  in  his  prints. 

‘  'A* 

24.  Two  Prints,  Each  Representing-  a  Standing  ^Courtesan. 

Size  8x0  each.  From  the  famous  album,  “Seiro  Rijin  Awase.” 

25.  Two  Prints,  Each  Representing  a  Seated  Courtesan. 

Size  8x6  each.  From  the  same  publication. 

Ct. 

26.  Two  Prints,  Each  Representing  a  Standing  Courtesan. 

Size  8x6  each.  From  the  same  publication. 


ff» 

27. 


£2.  O 


Girl  Returning  a  Football.  t. 

Size  11x8.  Exquisite  in  grace  of  line  and  delicacy  of  color.  In  a  beautiful 
state  of  preservation. 

(Illustrated,  plate  II) 


28.  The  Famous  Beauty  O-Fuji. 

She  is  receiving  a  girl  caller  at  the  cosmetic  shop  of  her  father  Nikeiji.  In 
the  foreground  a  cock  is  picking  at  crumbs. 

Size  11x8. 

In  the  year  1769,  four  beautiful  young  girls  were  selected  to  perform  the  cere¬ 
monial  dance  at  the  temple  of  Yushima  Tenjin  on  the  occasion  of  the  installation  of  a 
statue  of  Ichizu  Shoshi.  Of  these  O-Fuji  was  one.  The  resulting  popular  interest  in 
her  appearance  impelled  Harunobu  to  produce  many  prints  in  which  her  graceful 
(igure  is  depicted.  The  artist's  delicate  drawing  and  luminous  color  arc  exhibited 
to  high  advantage  in  this  finely  preserved  print. 

(Illustrated,  plate  II) 


\  First  Afternoon  Session 

29.  Two  Girls  Fishing. 

A  young  man  is  guiding  tlieir  boat  down  the  Sumida  River;  in  the  back¬ 
ground  appears  the  temple  of  Mimeguri. 

Size  11x8. 


30.  A  Courtesan  Standing  on  a  Veranda.  c  ^ 

She  is  looking  out  toward  the  sea  ;  beside  her  is  a  servant  carrying  a  lute. 
Size  11x8.  Signed  “Harunobu.” 

In  spite  of  the  signature,  this  print  is  probably  not  by  llarunobu  but  by  Shiba 
Rohan,  who,  shortly  after  Harunobu' s  death,  produced  a  remarkable  series  of  forgeries 
that  are  in  some  instances  almost  as  fine  as  the  irorlc  of  Harunobu  himself. 

(Illustrated,  plate  II) 


31 


32. 


^7 


4*-  x 


/7 


Sy 

33. 

sy 

34. 

6'V 


KORIUSAI 

(Worked  c.  1770-1781) 

A  Courtesan  in  Striped  Orange  Robe. 

Her  attendant,  in  robe  decorated  with  snowy  pine  branches,  carries  a 
tobacco-box. 

Pillar-print,  without  background.  One  of  a  famous  series  of  courtesan  portraits. 
In  fine  condition. 

Two  Young  Lovers  Under  an  Umbrella  in  Snow 

Pillar-print.  A  distinguished  design. 


^  /V. 


/? 


A  Courtesan  in  Striped  Robe  of  Orange  and  Yellow. 

Pillar-print.  Notable  for  its  superb  and  daring  color.  In  fine  condition. 


A  Woman  with  a  Boy  Carrying  a  Black  Box.  -y ^ 

In  background,  a  castle  with  setting  sun  behind  it. 

Pillar-print. 


35.  A  Girl  Hiding  on  a  Crane.  A"./,’  .  A.,<  <  ■  -  ‘  < *<  •<  f 

Below  her,  a  young  man  in  imitation  of  Urashima  is  riding  on  a  tortoise  (/ 
that  swims  the  waves.  He  is  handing  her  a  love-letter. 

Pillar-print. 


36.  Young  Man  Riding  a  Horse. 

The  animal  is  being  led  by  a  woman 
7  Pillar-print. 


Fuji  in  the  background. 


37.  Two  Girls  at  the  Well.  d  „ 

One  draws  water  while  the  other  washes  linen. 

Pillar-print.  One  of  Koriusai’s  most  famous  designs ;  in  soft  colors. 

(Illustrated,  plate  XIV) 


First  Afternoon  Session 


/Z 


38.  The  Courtesan  Haruji  of  Clioji-ya. 

She  appears  in  a  many-folded  robe,  accompanied  by  a  girl  attendant  whose 
+T O  robe  is  decorated  with  a  pattern  of  pine  branches. 

Pillar-print. 


?T?r. 


7/ 


39.  A  Courtesan  on  a  Balcony  Overlooking;  the  Sumida  River 


Her  girl  attendant  kneels  beside  her;  boats  pass  in  the  background. 
Pillar-print.  One  of  Koriusai’s  famous  designs. 


40.  An  Interior  Scene.  /t  ^  '/ 

Two  women  are  arranging  flowers;  one  kneels,  the  other  stands  behind  her. 
Pillar-print. 


siiuns  no 

( c.  1726-1792) 


41.  The  Actor  Ishikawa  Yaozo.  7  ? 

.  He  appears  in  the  role  of  a  man  carrying  an  orange/lacquer  box;  lie  stands 

beside  a  river,  under  the  branches  of  a  tree. 

Size  12x6.  Beautiful  in  color;  in  fine  condition. 

(Illustrated,  plate  1) 

U,  £ 

42.  The  Actor  Iwai  Hanshiro  as  a  Woman  Holding  a  Comb. 

Size  13x6.  From  the  Hayashi  collection.  A  figure  of  notable  grace.  In  fine 


y> 


*  j 


condition. 


43.  The  Actor  Onoye  lVIatsnsuke.  7  ^  ^ 

He  appears  in  the  role  of  a  noble,  standing  on  a  rock  beside  the  sea,  hold 
‘7'ci-  a  scroll. 

Size  12x6.  A  notable  example  of  Finnish  o' 8  intense  dramatic  power.  In  fine 
condition. 

( Illustrated ,  plate  III) 


44.  The  Actor  Ishikawa  Monosuke  in  “Shiba^aku.” 

^2.  J  Size  12x5.  A  simple  design,  of  marked  power. 

45.  The  Actor  Ishikawa  Danjuro.  7^/7  - 

lie  appears  in  the  role  of  a  ferocious  warrier  with  bow  and  arrows,  stand- 
ing  on  I  lie  bank  of  a  river. 

Size  12x6.  Daring  color;  in  a  phenomenal  state  of  preservation.  The  peculiar 
blue  used  here  for  the  water  is  seldom  found  unfaded. 


7 


/% 


46.  An  Actor  as  a  Man,  grasping  a  Fan 

He  is  pulling  a  robe  over  his  shoulder. 

Size  12x6.  Yellow  background.  Notable  for  its 
signed,  but  with  Shunsho’s  “ Jar  Seal.” 


simplicity  and 


intensity.  Un- 


First  Afternoon  Session 


47. 


48. 


£  ?y~ . 

The  Actor  Onoye  Matsusuke  as  a  Man  Standing  Beside 
a  Bench. 

Size  32x6.  In  brilliant  condition. 

(2  /?■ 

The  Actor  Sawamnra  Sojnro  as  a  Man  Holding  a  LetteF.  I  £> 


He  stands  before  a  red  fence. 
Size  12x5.  In  fine  condition. 


Z-  o 

49.  The  Actor  Kosagawa  Tsnneyo  as  a  Woman  Holding  a 
Picture. 

She  is  standing  before  a  red  fence. 

Size  12x5.  In  fine  condition.  This  and  the  preceding  number  are  the  right  and 
middle  sheets  of  a  triptych. 


50. 


Scene  from  the  Drama  of  the  Forty-seven  Bonin. 

A  woman  crouches  before  a  screen  and  holds  the  robe  of  a  Samurai  who 
stands  beside  her. 

Size  10x7.  A  rare  print  in  luminous  condition. 

rf-tUusti  atrd,  plate  /T*7  ' 


BUNCHO 

(Worked  c.  1765-1775) 


51.  The  Actor  Onoye  Matsusuke  witjji  Fan  and  Drum. 

lie  is  standing  before  a  large  screen. 

Size  12x6.  Buncho's  work  is  of  considerable  rarity.  Tins  is  a  characteristic 
example,  in  good  condition. 

(Illustrated,  plate  IV) 


So 


SHUNJO 

(Worked  c.  1760-1780) 

52.  The  Actor  Segawa  Kikunojo  as  a  Woman. 

Size  12x5.  The  line-rhythm  of  this  design  has  been  much  admired  by  amateurs 

(Illustrated,  plate  IV) 


MTS* 


53.  The  Actor  Matsiunoto  Koshiro  in  the  Role  of  a  Peasant.  i  o 

He  is  holding  a  lantern  as  he  crouches  before  a  fence.  Rain  pours  down ; 
p.  7  the  night  sky  is  represented  by  solid  black. 

Size  12x6.  In  flawless  condition. 


K1Y0NAGA 

(1742-1815) 


54.  Two  Girls  Hand  in  Hand  tinder  a  Willow. 


Pillar-print.  Superb  figures,  with  the  characteristic  Kiyonaga  grace  amr dignity. 

(Illustrated,  plate  XII) 


First  Afternoon  Session 


55.  Woman  Holding-  a  Child. 


d?  lV- 


Another  woman  crouches  at  her  feet,  dressing. 

I’illar-print.  Kiyonaga's  virile  line -work  appears  here  to  advantage. 


56.  Woman  Carrying  an  Umbrella,  under  a  Willow. 

Pillar-print.  One  of  Kiyonaga’s  tgpicaUg  stately  figures. 

( Illustrated ,  plate  XI) 


/?  -  _X  s- 

57.  Girl  in  a  Black  Hood  on  a  Windy  Day. 

She  is  walking  along  the  bank  of  a  stream;  strong  horizontal  tines  make  a 
^ P7  superb  rhythm  through  her  garments. 

Pillar-print.  Mr.  F.  IP.  Goolcin  says  of  this  design,  “ The  drawing  of  the  black 
sulcin  (hood)  about  the  girl's  head,  and  the  superb  brush-strokes  with 
which  the  whole  is  executed,  are  among  the  finest  things  in  all  Ulcioye.  One 
of  Kiyonaga's  masterpieces."  Some  previous  owner  has  skillfully  mended 
the  top  of  the  print,  where,  branches  originally  appeared. 


58. 


AMan  Standing  before  a  Bamboo  Fence. 


He  has  just  kicked  a  football ;  a  girl  watches  him  from  an  upper  balcony. 
/ *-^"7  Pillar-print. 


'7 


59.  Two  Girls  Walking. 

Above  them  the  spring  cuckoo  flies. 
Pillar-print. 


2*. 


60.  Woman  with  Basket-hat  and  Fan. 

Pillar-print.  Typical  of  Kiyonaga's  stately  figures  at  his  best  period. 

( Illustrated ,  plate  XII) 


61.  Two  Youths  in  Gorgeous  Robes. 

Pillar  print.  The  use  of  blacks  is  notable. 


62.  Young  Man  Wearing  Two  Swords.  /  pPP?  t  ^  jf  & 


77 


Sp 


He  is  carrying  a  falcon  on  his  wrist.  Fuji  in  background. 


Pillar-print. 


63.  Woman  with  Basket-hat. 


6 


A  girl  is  tying  her  sandal ;  sea  and  mountain  background. 

Pillar-print.  A  notable  example  of  Kiyonaga’s  ripest  style.  In  fine  condition. 

(Illustrated,  plate  XII) 


First  Afternoon  Session 


SHUNCHO 

(Worked  c.  1775-1800) 


.£^64.  A  Palace  Interior. 

Four  women  are  grouped  beside  a  screen. 

Full-size  upright.  The  right-hand  sheet  of  a  triptych.  Shuncho’s  women  are 
characterized  by  a  y race  and  dignity  that  is  unsurpassable. 


65.  Three  Women  on  a  Veranda  beside  the  Snmida  River. 

Moon  and  delicate  landscape  in  background. 

Size  SxG.  Signed  “ Manri ,”  Shuncho's  early  signature.  A  charming  work. 


/e*  . 


66.  Four  Women  and  a  Girl  on  a  Veranda. 

Full-size  upright  sheet;  one  of  a  triptych. 


YEISHI 

(Worked  c.  1780-1805)  • 

67.  An  Interior. 

Three  Geishas  are  entertaining  a  young  noble  at  a  tea  house  in  tl^  Yoshi 
jr-  7  jy  wara.  &  cz 

'  Full-size  upright;  the  middle  sheet  of  a  triptych.  In  Yeishi'v  early  style,  influ¬ 

enced  by  Kiyonaga.  The  man's  figure  is  a  marvel  of  simplicity  and  ex-. 
pressiveness. 

From  the  Fenollosa  collection. 

O 


/  5 


68.  A  Kneeling  Woman  who  Holds  a  Decorated  Tea  Stand. 

—  Full-size,  upright  sheet;  yellow  background.  One  of  a  series — “Furyu  go  Sekku,” 


Refined  Five  Festivals. 


69.  A  Festive  Group  at  the  Edge  of  a  Garden. 

Full-size,  upright  sheet.  Printed  in  pale  tones  of  gray,  green,  yellow  and  purple, 
with  all  Yeishi’s  peculiar  delicacy. 

70.  A  Group  of  Four  Courtesans  in  Robes  of  State.  <r  jr 

y ^  Full-size,  upright  sheet.  Yellow  background. 


71.  Two  Prints,  Each  Representing  a  Courtesan  and  at¬ 

tendants.  X  /.  . 

Size  8x6.  Printed  chiefly  in  various  tones  of  gray,  on  a  pale  yellow  background. 
Yeishi  was  the  master  of  gray  symphonies. 

72.  Interior.  ~  £ 

A  group  of  five  women  are  looking  out  through  a  circular  window  onto  the 
Nihon  Embankment  covered  with  snow. 


/x 


An  album-sheet,  size  Sxl4,  from  “Otoka  Toka,”  1798.  In  fine  condition. 


First  Afternoon  Session 


HOKUSAI 

(1760-18J,9) 


“ Shokolcu  Takimeguri.” — Complete  set  of  eight  full-size  upright  aheets- 
ing  Around  the  Waterfall  Country.” 


‘Travel 


73. 


So. 


74. 


(I)ate  c.  1880 ) 

The  Kirifuri  Fall.  t iOr 

In  the  Kurokami  mountains,  Province  of  Shimotsuke. 


A  broad,  foidmig 

cascade  pours  down  between  rocks;  at  its  base  three  men  look  up  at  it,  and 
two  other  men  look  down  from  the  hillside  to  the  right.  No.  1. 


75. 


/7-a 


The  Olio  Fall. 

On  the  Kisokaido  road.  A  perpendicular  fd-tl  descends  in  a  sheet  on  the 
left;  in  the  foreground  a  bridge,  on  which  are  five  men,  spans  the  pool 
formed  by  the  cascade,  in  the  middieground  a  small  house  perches  on  a 
rock;  beyond  it  lie  mists  and  precipices.  No.  2. 

( Illustrated ,  plate  VI1J) 

£ 


The  Kiyo  Fall.  ^ 

By  the  shrine  of  Ivawannon  of  Sakanoshita,  on  the  Tokaido  road.  Slender 
forking  streams  pour  down  the  steep  hillside ;  on  the  right,  three  men  are 
climbing  from  the  thatched  tea-houses  in  the  valley  up  to  the  shrine  on 
the  slope.  No.  3. 


76. 


77. 


2-2 


6-0 


78. 

/7^ 


79. 


sjt 


80. 


The  Yosliitsune  Horse- washing  Fall.  * 

At  Yoshino  in  the  Province  of  Izumi.  In  the  middle  of  the  foaming  cas¬ 
cade  stand  two  men  washing  a  horse.  The  name  of  the  fall  is  in  allusion 
to  the  great  warrior  Yosliitsune,  who  is  fabled  to  have  washed  his  horse 
here.  No.  4. 


The  Amida  Fall. 


In  the  Province  of  Kiso.  Through  a  round  gap  in  the  upper  rock  the  cas¬ 
cade  shoots  perpendicularly  down;  three  men  are  preparing  to  picnic  on 
the  steep  cliff  t.o  the  left.  No.  5. 


The  Hollyhock-hill  Fall. 

In  the  Province  of  Yedo.  A  short,  broad  fall  descends  from  a  wide  lake; 
on  the  left,  a  road  with  pedestrians  on  it  winds  up  the  hill  to  a  tree-shaded 
tea-house.  No.  6. 


The  Roben  Fall. 


At  Oyama  in  the  Province  of  Sagaini.  The  narrow,  curving  fall  shoots 
out  from  a  cliff  to  the  left  and  splashes  into  a  pool  where  naked  men  are 
bathing.  No.  7. 


The  Yoro  Fall.  - 7 

In  the  Province  of  Mino.  The  perpendicular  cataract  descends  in  a'  broad 
curtain,  breaks  behind  a  large  rock,  and  swirls  away  to  the  left;  on  the 
right  side  is  a  thatched  roof  where  several  men  are  resting.  No.  8. 


First  Afternoon  Session 


HIROSHIGE 

(1797-1858) 

In  “Chats  on  Japanese  Prints,”  Mr.  Arthur  Davison  Ficke  presents  us  with 
a  faithful  summary  of  this  great  artist's  work:  “Hiroshige  takes  rank,  by  unanimous 
consent,  as  the  foremost  landscape  artist  produced  by  the  Ukiyoye  school.  Hokusai’s 
main  concern  was  with  the  fundamental  architecture  of  landscape.  He  outlined  the 
structure  of  mountains,  rocks,  rivers,  waves,  and  bridges  with  a  hard  and  brilliant 
sharpness;  but  Hiroshige,  less  rigid  in  his  treatment,  seems  chiefly  intent  upon  the 
more  delicate  and  transitory  appearances  of  cloud  and  mist,  rain  and  snow,  sunrise 
and  dusk,  that  give  to  a  landscape  at  each  particular  moment  so  much  of  its  specific 
character.  Few  landscape  painters  of  any  race  have  succeeded  in  rendering  so  finely 
the  mood  of  a  scene.”  Mr.  Ficke  calls  attention  to  the  “delicate  peace  and  sweet¬ 
ness  of  twilight”  in  plate  No.  G8G,  the  “vigorous  life  of  wide  sea  spaces”  in  plate 
No.  143,  the  “heavy  hush  of  nightfall  over  the  snow-covered  village”  in  plate  No.  184; 
the  “luminous  and  solemn  dusk  on  the  Sumida  ltiver”  in  plate  No.  391,  and  the 
“mystery  of  the  Bow-moon”  in  plate  No.  351.  “Hiroshige’s  great  strength  lay  in  his 
genius  for  strikingly  effective  composition  and  the  skill  with  which  he  adapted  his 
designs  to  the  limitations  of  the  color-print  technique.  He  reduced  the  pictured 
scene  to  a  few  simple  elements  of  a  highly  decorative  character,  and  managed  to  make 
them  so  symbolic  and  suggestive  that  we  do  not  miss  the  multitude  of  details  which 
he  purposely  omits.  A  strongly  dominant  unity  of  impression  is  the  result.” 

In  making  an  estimate  of  the  impression  and  condition  of  each  print  here  shown, 
the  classification  as  given  in  Mr.  Ficke’s  book  has  been  followed.  In  the  chapter  on 
collectors  he  gives  certain  considerations  that  should  govern  the  choice  of  a  print. 

I.  The  artist. 

II.  The  qualita  of  the  design.  The  impression  produced  upon  the  aesthetic  sense 
of  the  collector  is  the  most  vital  of  all  the  elements  that  should  determine  his  choice; 
he  should  pass  by  all  designs  in  which  clumsiness  or  awkwardness  is  evident. 

III.  The  qualitg  of  the  impression.  Different  copies  of  the  same  print  differ 
enormously  in  quality.  The  finest  design  is  of  little  avail  if  the  work  of  the  printer 
has  not  been  judicious.  Mr.  Ficke  classifies  the  various  grades  of  impression  as 
follows : 

ARTIST’S  IMPRESSION.  Such  a  print  as  might  have  been  produced  under  the 
eye  of  the  artist  himself,  every  line  clear  and  sharp,  every  color  delicate  and  perfectly 
registered,  the  total  effect  luminous  and  harmonious ;  no  possible  subtlety  of  technique 
left  to  be  desired. 

FINE  IMPRESSION.  A  clear,  perfect  impression  such  as  a  careful  printer  would 
normally  turn  out  at  his  best.  (Very  few  of  the  prints  here  shown  fall  below  this 
class.) 

GOOD  IMPRESSION.  Such  a  print  as  would  pass  muster  with  the  ordinary 
buyer  of  that  day;  good,  but  not  especially  fine;  clear,  but  not  notably  sharp;  pleas¬ 
antly  enough  colored,  but  not  distinguished  in  color  scheme.  Very  slight  defects  of 
register  or  gradation  will  not  exclude  a  print  from  this  class. 

LATE  IMPRESSION.  One  in  which  serious  defects  appear,  such  as  bad  register, 
raw  color,  blurred  definition,  or  any  other  real  error. 

IV.  CONDITION.  The  state  of  preservation  is  important.  The  following  classi¬ 
fication  is  suggested  by  Mr.  Ficke: 

PUBLISHER’S  STATE.  Without  the  slightest  evidence  of  any  change  since  the 
hour  it  was  printed;  colors  unaltered;  paper  absolutely  new  and  sparkling. 

COLLECTOR’S  STATE.  As  a  print  might  be  after  a  few  years  in  the  possession 
of  a  careful  purchaser;  perfect,  except  for  having  been  mounted  or  washed,  or  for 


First  Afternoon  Session 


slight  chemical  change  in  the  colors  due  to  time  only  and  not  to  damage ;  paper  white 
and  clear.  (Very  few  of  the  prints  here  shown  fall  below  this  class.) 

GOOD  STATE.  Marred  only  by  minor  defects  that  would  be  unnoticeable  to 
casual  observation — small  worm  holes,  slight  tears,  moderate  fading  of  colors,  or 
slightly  rubbed  surface ;  paper  toned  but  not  brown. 

ORDINARY  STATE.  Still  retaining  its  chief  beauty  in  spite  of  noticeable  injury 
by  tears,  small  stains,  worn  or  faded  colors  or  other  damage;  paper  somewhat 
browned  by  exposure. 

DEFECTIVE  STATE.  Such  injuries  or  color  changes  as  deprive  the  print  of  its 
significance  as  a  thing  of  beauty ;  paper  browned  or  stained. 

Impression  is  considered  of  more  importance  than  condition  by  most  collectors ; 
a  fine  impression  in  poor  condition  might  give  much  pleasure,  but  a  poor  impression 
is  very  seldom  a  thing  of  beauty  in  any  state.  In  fact,  a  slight  toning  of  the  colors, 
which  in  their  pristine  state  were  strong  or  harsh,  sometimes  brings  the  entire  print 
perhaps  one  key  lower  and  makes  of  it  a  soothing  harmony.  The  reds,  purples,  greens 
and  yellows  are  a  little  softened,  but  the  paper  itself  must  be  white,  fresh  and  clear 
and  not  toned  or  soiled. 

The  Hiroshiges  in  this  collection  were  acquired  by  me  many  years  ago  at  a  time 
when  this  artist's  prints  in  fine  impression  and  state  were  frequently  found  in  the 
hands  of  the  dealers  and  were  procurable  at  comparatively  low  prices;  and  for  that 
reason  many  collectors  evidently  thought  the  supply  inexhaustible  and  paid  little 
attention  to  collecting  them  until  the  harvest  was  past.  This  was  before  any 
Hiroshige  forgeries  appeared  on  the  market.  For  this  reason,  and  also  relying  upon 
the  verdict  of  Mr.  F.  W.  Gookin,  and  Mr.  A.  D.  Ficke,  to  both  of  whom  I  am  deeply 
indebted,  and  from  my  own  experience  in  handling  many  thousands,  I  can  unhesitat¬ 
ingly  guarantee  the  genuineness  of  every  print  here  offered.  I  have  also  to  thank 
Mr.  T.  Ito,  Mr.  W.  H.  Edmunds,  whose  catalogues  I  have  freely  drawn  upon ;  and 
Mr.  John  S.  Happer,  without  whose  catalogue  and  letters  I  would  never  have  ven¬ 
tured  upon  the  following  descriptions,  especially  in  view  of  the  fact  that  the  rest  of 
this  catalogue  was  written  by  one  who  is  not  only  a  literary  man,  but  an  authority 
on  Japanese  prints  as  well.  J.  D.  M. 


THE  TOKAIDO  SET 


TOKAIDO  GOJU  SAN  TSUGI.  Full-size  horizontal  plates,  published  by  lloyeido- 
Takeuchi.  Complete  in  fifty-five  plates,  with  additional  plates  showing  the  variations 
in  blocks,  both  key  and  color  blocks.  Believed  to  be  a  complete  variorum  set.  The 
accepted  date  for  the  complete  issue  of  this  set  is  lSSif,  but  an  earlier  date  should 
probably  be  assigned.  The  marked  variation  in  the  earlier  plates  is  probably  due  to  the 
well-known  fact  that  Ycdo  was  every  winter  ravaged  by  fire  and  the  original  blocks 
may  have  been  burnt  or  damaged  in  hasty  removal  from  a  threatened  depository. 
More  of  Hiroshige's  fine  designs  are  found  in  this  set  than  in  any  other. 

Each  print  is  signed  Hiroshige.  Following  the  station  name  on  each  plate  is  a 
sub-title  which  is  given  in  the  following  notes,  which,  together  with  this  description, 
are  taken  almost  verbatim  from  the  Happer  catalogue.  Many  of  these  prints  are  from 
the  set  formerly  owned  by  Edmund  de  Goncourt,  the  French  author  and  collector. 


81 .  Nihon  Bashi. 


Sub-title,  Asa  No  Kei,  morning  sc<  ,  jetter,  dif¬ 

fering  in  detail  from  the  more  usual  print;  publisher’s  seal,  Kikaku, 
Takeuehi.  (No.  1.) 


Fine  impression.  Collector's  state. 
Signed  :  Hiroshige. 


First  Afternoon  Session 


82.  Nihon  Bashi,  Gioretsn  Furude. 


Banners  waving.  Marked  changes  appear.  Sub-title  changed,  no  clouds ; 
right  foreground  tilled  with  street  hawkers;  dogs  smaller  and  changed 
AT.  to  middle  foreground ;  publisher’s  seal,  Takeuchi  only. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 


83.  Shinagawa,  Hinode. 

Daybreak.  Village  street  on  right ;  junks  at  anchor  on  left ;  publisher’s 
seals  following  signature,  Senkakudo  Hoyeido.  A  print  of  unusual  beauty. 
(No.  2.) 

Artist's  impression.  Publisher’ s  state. 

Signed:  Hiroshige. 


84.  The  Same.  A  Variation. 


(A?  c- 


A 


7 


Four  figures  are  added  to  the  procession  of  nobles;  other  minor  changes  in 
^7?  the  treatment  of  the  boats;  publisher’s  seal,  Takeuchi  only. 

Good  impression.  Ordinary  state. 

Signed :  Hiroshige. 


85.  Another  Variation. 


Clouds  and  publisher’s  seal  omitted. 
Late  impression.  Ordinary  state. 

Signed  :  Hiroshige. 


86.  Kawasaki,  Rokugo  Tosen. 


a. 


7 


Ferry  boat,  Rokugo  river;  publisher’s  seals,  Senkakudo,  Hoyeido. 
Artist’s  impression.  Publisher's  state. 

Signed :  Hiroshige. 


(No.  3.)  *' 


87.  The  Same.  A  Variation. 


Fuji  is  only  an  outline;  no  key  block;  the  man  on  the  raft  is  absent,  the 
boatman  faces  to  the  left;  other  minor  differences. 

Fine  impression.  Collector’ s  state. 

Signed :  Hiroshige. 


88.  Kanagawa,  Knre-no-kei. 

Sunset.  The  cloud  is  on  the  left  half  of  the  sky ;  the  angle  of  the  roofs  is 
very  sharp;  there  are  no  posts  in  the  foreground  of  water;  publisher's  seal. 
Hoyeido  ;  beautiful  color.  (No.  4.) 

Fine  impression.  Publisher’s  state. 

Signed :  Hiroshige. 

From  the  de  Goncourt  collection. 


First  Afternoon  Session 


/a. 


89.  The  Same.  A  Variation.  ,  . 

The  cloud  is  in  the  right  half;  roofs  are  broader  angles;  posts  appear  in  the 
foreground  of  water ;  other  minor  differences ;  publisher’s  seal,  Takeuchi. 
Good  impression.  Good  state. 

Signed :  Hiroshige. 


90.  Hodogaya.  Shin  Kanie  Bashi. 


7 


Publisher’s  seal,  Seukaku  do  Hoyeido.  (No.  5.) 
Fine  impression.  Publisher' s  state. 

Signed  :  Hiroshige. 


91. 


Totsnka,  Moto  machi  Betsndo. 

Branch  road  main  street;  publisher’s  seals,  Kakuki,  Takeuchi. 
Artist’s  impression.  Publisher’ s  state. 

Signed :  Hiroshige. 


From  the  de  Goncourt  collection. 


(No.  6.) 


92.  A  Variation. 

Marked  differences  in  key  block  ;  the  man  is 
^  boarded  in,  the  middle  tree  is  gone  and  the  sky  is  not  striated.  Seal  dif¬ 

fers  in  shape,  reading  Takeuchi. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


mounting  the  horse ;  tea  house 


93.  Fujisawa,  Yuyoji. 


Temple.  Torii  in  foreground ;  bridge  and  village  in  center  with  temple  on 
wooded  hill  in  distance.  Publisher’s  seal.  Hoyeido.  A  superb  copy.  (No.  7.) 
Artist’s  impression.  Publisher’s  state. 

Signed :  Hiroshige. 


94. 


Hiratsuka,  Navvate  I)o.  7'.  /  '' 

Nawate  highway.  Three  coolies  on  highway  leading  to  a  round  top  hill.  A 
beautiful  impression  of  a  print  usually  quite  unattractive.  Publisher’s  seal. 
Hoyeido,  Sen  Kakudo.  (No.  8.) 

Artist's  impression.  Publisher’ s  state. 

Signed :  Hiroshige. 


95.  Oiso,  Tora  Ga  Ame. 


/ 


Tiger  rain.  In  later  editions  the  yellow  sky  is  less  beautiful ;  seal,  Takeuchi 
(No.  9.) 

Good  impression.  Collector's  state. 

Signed :  Hiroshige. 


First  Afternoon  Session 


96.  Odawara,  Sako  Gawa. 

Fording  the  Sako  river.  This  plate  has  many  states;  apart  from  the  vary¬ 
ing  outlines  of  the  distant  hills  (color  blocks  only),  the  key  block  varies  in 
ef" 0  the  number  of  figures  on  the  foreground  bank.  In  the  two  volume  edition, 

taken  as  a  standard,  the  plate  has  only  two  coolies  on  the  shore;  Hoyeido 
seal  is  the  same  on  all.  This  is  a  rare  impression.  (No.  10.) 

Artist's  impression.  Publisher's  state. 

Signed :  Hiroshige. 


97.  The  Same.  A  Variation. 


Four  figures  on  the  shore,  two  travelers  and 
tu re,  an  earlier  state. 

Late  impression .  Ordinary  state. 

Signed :  Hiroshige. 


two  coolies.  From  the  signa 


98.  The  Same.  A  Variation. 


Five  figures  on  the  shore,  three  coolies,  two 
hills. 

Good  impression.  Good  state. 

Signed :  Hiroshige. 


travelers 


change  in  outline 


of 


99.  The  Same.  A  Variation.  ?p:  J 

Five  figures  on  the  shore,  but  the  outline  of  the 
foregoing. 

Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


100.  Hakone,  Kosui. 


Lake.  This  plate  and  the  remaining  numbers  of  the  series  show  hardly 
any  variation  of  importance.  (No.  11.) 

Good  impression.  Collector's  state. 

Signed :  Hiroshige. 


101.  Mishima,  Asa  Kiri. 

P  Morning  mist.  A  celebrated  print. 

<7^2-  —  Artist's  impression.  Collector's  state. 
Signed :  Hiroshige. 


(No.  12.) 


CP.  /F. 


102.  Nnmadzu,  Ki  Knre. 


Yellow  evening.  A  moonlight  scene.  The  grotesque  mask  on  the  back  of 
the  pilgrim  was  a  distinctive  mark  of  the  pilgrims  traveling  to  the  Shinto 
shrine  of  Kompira  in  the  Island  of  Shikoku.  A  striding  design.  (No.  13“.) 
Good  impression.  Ordinary  state. 

Signed :  Hiroshige. 


First  Afternoon  Session 


103.  Hara,  Asa  No  Fuji.  ^  ^ 

Morning  Fuji.  Three  pilgrims  on  the  highway ;  Fuji  rising  in  majestic 
grandeur  in  the  distance.  A  supreme  copy  of  a  print  rarely  seen  in  even 
33.  a  good  impression.  (No.  14.) 

Artist’s  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


1  <S~Q 


104.  Yosliiwara,  Hidari  Fuji. 

Fuji  on  the  left.  (No.  15.) 
Fine  impression.  Collector’s  state. 
Signed :  Hiroshige. 


u  . 


^7 


105.  The  Same.  A  Variation. 

Fuji  is  overwritten  with  the  title;  there  is  no  signature;  publisher’s  seal 
above  the  trees  on  the  left. 

Late  impression.  Collector’s  state. 

Signed:  Hiroshige. 


100.  Kambara,  Yorn  No  Ynki. 

Evening  snow.  (No.  16.) 

/ /O .  A  supreme  impression  in  remarkable  state. 

Signed :  Hiroshige. 


107. 


The  Same. 


/7 


£? 


In  the  usual  printing. 

Fine  impression.  Collector's  state. 
Signed :  Hiroshige. 


108.  Yni,  Satta  Mine. 


Satta  Peak.  Fuji  seen  across  the  water  in  the  distance. 
A  supreme  impression,  unusually  soft  and  beautiful. 

Artist’s  impression.  Collector’s  state. 


(No.  17.) 


Signed :  Hiroshige. 


2  s: 


109.  Okitsn,  okitsn  kawa. 

Fat  wrestlers  fording  a  stream. 
Artist's  impression.  Publisher’s  state. 
Signed :  Hiroshige. 


Rich  in  color. 


(No.  IS.) 


/? 


1  10. 


~?9U 


Ejiri,  milio  embo.  _ 

Distant  view  of  Miho  Beach.  The  rare  beauty  of  this  print  suffers  sadly  in 
later  editions  from  poor  printing  off  worn  blocks.  This  is  a  superb  impres¬ 
sion.  No.  19.) 

Artist's  impression.  Collector’ s  state. 

Signed :  Hiroshige. 


First  Afternoon  Session 


111.  Fueliu  Abe  Ivawa. 

Crossing  the  Abe  river.  (No.  20.) 
Fine  impression.  Collector's  state. 
Signed :  Hiroshige. 


112.  Mariko,  Meibutsu  Cliaya. 


Souvenir  tea  house.  The  inscription  on  the  sign  board  is  not  a  poem  but 
an  advertisement  of  “very  fine  fish  and  rice  for  sale  within.”  A  charming 
design.  (No.  21.) 

Artist's  impression.  Collector' s  state. 

Signed :  Hiroshige. 


113.  The  Same. 

A  softer  printing. 

77^  Artist's  impression.  Publisher's  state. 
Signed :  Hiroshige. 


6?  /V. 


r 


114 

jTJ 


Oka  be,  I  tsu  No  Yaina.  7^ 

T'tsu  hill  is  here  colored  green  on  both  slopes,  the  coloring  of  the  original 


32  ^  issue.  A  supreme  impression  of  one  of  the  finest  designs  of  the  series. 

(No.  22.) 

Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


7. 


115.  The  Same. 


A' 


The  left  slope  of  hills  is  a  greenish  yellow.  The  contract  with  the  pre¬ 
ceding  copy  is  great,  furnishing  an  excellent  example  of  the  difference  in 
impressions. 

Late  impression.  Good  state. 

Signed  :  Hiroshige. 


7<7 


11(5.  Fujietla,  Hito  Uma  Keitatsu. 

Changing  horses  and  coolies.  (No.  23.) 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


A  ^  • 


72  ^ 


117.  Sliimatla,  Oigawa  Shun  (tan. 

Steep  bank  of  the  Oi  river.  An  unusually  fine  printing 
Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 

From  the  de  Goneourt  collection. 


(No.  24.) 


118.  Kanaya,  Oigawa  Em  Gan. 

Far  bank  of  the  Oi  river.  An  unusually  fine 
print  usually  unattractive  on  account  of  poor  printing.  (No.  25.) 
Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


M  Aw 


and  beautiful  impression  of  a 


First  Afternoon  Session 


119.  Nissaka,  Sayo  Naka  Yama. 


Pass  through  Sayo  mountain ;  the  huge  stone  in  the  roadway  commemorates 
the  murder  of  a  woman  whose  ghost  led  to  the  discovery  of  the  murderer. 
(No.  26.) 

Fine  impression.  Collector's  State. 

Signed  :  Hiroshige. 


120.  Kakegawa,  Akilia  San  Empo.  ^>/ 

Distant  view  of  Mount  Akiha  ;  the  road  to  its  shrine  left  the  Tokaido  here. 
The  bridge  is  usually  printed  dark  instead  of  the  light  gray  shown  here; 
rare  in  this  printing  and  state. 

Artist’s  impression.  Publisher's  state. 

Signed :  Hiroshige. 

(Illustrated,  plate  XVI) 


C  O 


121.  Fukoroi,  De  Chaya. 

Wayside  tea  house.  The  foreground  printed  a  delicdtc  plum  color;  only  tiro 
copies  in  this  printing  have  come  under  my  observation. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 

From  the  de  Goncourt  collection. 


/7 


ft 


122.  The  Same. 

The  foreground  printed  green;  in  brilliant,  sparkling  state. 
Artist’s  impression.  Publisher's  state. 

Signed  :  Hiroshige. 

( Illustrated ,  plate  XVI) 


123.  The  Same. 


2  s. 


The  foreground  printed  blue. 
Artist's  impression.  Collector’s  state. 
Signed  :  Hiroshige. 


124.  Mitsn  Ki,  Ten  Ryn  Gawa. 


^  Heaven  Dragon  river,  famed  for  its  ninety  mile  rapids,  is  here  crossed; 

rc  0,  the  misty  shores  are  finely  rendered.  (No.  29.) 

Fine  impression.  Collector’s  state. 

Signed  :  Hiroshige. 


125.  Hamamatsu,  Toko. 


Dreary  winter.  (No.  30.) 
Artist’s  impression.  Collector's  state. 
Signed  :  Hiroshige. 


C  7/^7  PC  ^ 


First  Afternoon  Session 


126.  Maizaka,  Imaki  Shin  Kei. 

View  of  Imaki  Point ;  the  yellow  glow  of  sunset  dgainst  which  the'  cone 
of  Fuji,  white  in  fine  contrast  with  the  deep  blue  of  the  distant  hills,  the 
light  and  shadow  of  the  blue  sea,  unite  in  one  of  the  most  charming  views 
of  the  series.  A  supreme  copy.  (No.  31.) 

Artist’s  impression.  Collector’s  state. 

Signed :  Hiroshige. 


127.  Arai,  To  Sen. 

Ferry  boat;  the  gay  banners,  the  variegated  garb  of  the  boatmen,  the  golden 
?  sunset  fill  the  plate  with  rich  color.  (No.  32.) 

Fine  impression.  Collector’s  state. 

Signed :  Hiroshige. 


128.  The  Same. 

A  later  edition  in  a  different  color  scheme 
hate  impression.  Publisher's  state. 

Signed :  Hiroshige. 


129.  Shirakai,  Shio  Mi  Zaka. 


Jf  <- 


Sea  View  Hill ;  the  name  of  this  station  may  be  pronounced  Shirasuka  ; 
0  the  hill  is  well  named,  the  wide  sea-vista  delights  the  eye.  This  is  one  of 

the  finest  designs  in  the  series  and  is  rarely  seen  in  such  a  fine  impression. 
(No.  33.) 

Artist’s  impression.  Collector's  state. 

Signed :  Hiroshige. 


From  the  de  Goncourt  collection. 


130.  Futa  Gawa,  Sam  Ga  Baba.  ^  ^ . 

Monkey  racecourse;  evidently  country  races  or  horsemarkets  were  held 
here.  A  fine,  soft  impression.  (No.  34.) 

Artist's  impression.  Publisher’s  state. 

Signed :  Hiroshige. 


<_A 


131.  The  Same. 

A  stronger  printing. 

Fine  impression.  Publisher’ s  state. 
Signed :  Hiroshige. 


y 


132.  Yosliida.  Toyokawa  Ilashi. 

The  long  bridge  over  the  Toyo  river. 

3  A  superb  impression ;  one  of  the  gems  of  the  collection. 

Artist’s  impression.  Publisher’s  state. 

Signed :  Hiroshige. 

From  the  de  Goncourt  collection. 


First  Afternoon  Session 


133.  Goyu,  Tabbito  Ryujo. 

Tourists  and  inn  runners;  apart  from  tlie  human4'' interest  of  this  plate, 
buxom  waitresses  hauling  tourists  to  their  respective  inns,  it  records  on 
the  signboards  that  the  engraver  of  the  series  is  Jirobei,  the  printer 
Heibei,  the  artist  Ichiryusai.  On  the  white  circle  can  be  deciphered  Take 
No.  T'chi  Han,  “han”  meaning  block,  used  as  equivalent  to  publisher  as 
distinguished  from  the  actual  artisans. 

Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


134.  The  Same. 

A  later  edition,  with  inscription  in  white  circle  omitted. 

'-7  Late  impression.  Ordinary  state. 

/  Signed :  Hiroshige. 

* 

135.  Akasaka,  Ryoslia  Slio-fu. 

Dinner  guests;  the  interior  of  an  inn,  the  guests'  dinner  is  prepared,  and 
in  an  adjoining  room  the  country  geisha  are  putting  finishing  touches  to 
JJ.  their  toilet.  The  gradation  of  the  grays  from  top  and  bottom  of  this 

print  is  unusually  soft,  even,  and  beautiful.  (No.  37.) 

Artist's  impression.  Publisher's  state. 

Signed :  Hiroshige. 

From  the  de  Goneourt  collection. 


13b.  Fuji  Rawa,  Bo  Bana.  + 

Village  entrance;  a  daimyo  cortege,  preceded  by  runners  shouting  “Shita-ni- 
iro'’  (get  down),  was  a  familiar  highway  scene  when  the  Tokaido  was  at 
ZL  O  .  the  zenith  of  its  fame,  and  humble  villagers  promptly  bowed  to  the  ground. 

(No.  38.) 

Fine  impression.  Collector' s  state. 

Signed :  Hiroshige. 


137. 

sy 


Okazaki,  Ten  Shin  No  Hashi. 

Another  long  bridge  on  which  an  imposing  cortege  crosses  the  wide  river. 
The  long  curve  of  the  bridge  across  the  design  is  a  fine  piece  of  drawing. 
(No.  39.) 

Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


138. 


7?ua>.  (2. 


y . 


d 


> 


The  Same.  A  Variation. 

The  low  hill  shown  at  left  of  center  in  preceding  print  is  omitted  here. 
Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


<7 


139.  Cliiryu,  Shu  Ka  Uma  Iclii. 

Principal  summer  horse  fair.  This  plate  is  the  one  in  the  two  volume 
standard  edition.  (No.  40.) 


Fine  impression. 
Signed:  Hiroshige. 


Publisher’s  state. 


First  Afternoon  Session 


140.  The  Same.  A  Variation. 


A  whaleback  hill  appears  in  this  block  which  is  omitted  in  the  foregoing. 
Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


141.  Narami,  Meibutsu,  Arimatsu  Sliibori.  *  +  * 

The  Shibori,  a  variegated  dyed  cloth,  made  at  Arimatsu,  a  neighboring  vil- 
lage,  was  the  Meibutsu  (famed  product)  for  sale  in  this  town.  (No.  41.) 
Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


/&. 


142.  Miya,  Atsuta  Shin  Ji. 

Temple  fete,  Atsuta  temple.  The  God  in  the  car  ps  left  to  the  imagination, 
only  the  votaries  and  horses  pulling  on  the  long  ropes  are  visible.  (No.  42.) 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


143.  Kuwana,  Shichi  Ki  Wataslii  Guchi. 

Mouth  of  the  Seven-ri  ferry,  an  inlet  so  called; 
/<5~  water  is  marvelously  graded.  (No.  48.) 

Artist’s  impression.  Collector's  state. 

Signed  :  Hiroshige. 

From  the  de  Goncourt  collection. 


the  green  and  blue  of  the 


144.  Yokkaiclii,  San  Clio  Kawa.  *  * 

A  famous  print  showing  the  sweep  of  the  wind  across  the  scene.  In  soft 
jy>  q  printing,  with  gradation  on  the  man's  cloak;  the  grass  and  shore  in  dis¬ 

tance  are  printed  green.  (No.  44.) 

Artist’s  impression.  Collector' s  stale. 

Signed :  Hiroshige. 


145.  The  Same. 


/,  ' t 


*r 


Gradation  on  man's  cloak,  but  grass  and  shore  printed  gray;  the  only  copy 
in  this  printing  to  come  under  my  observation. 

Artist’s  impression.  Collector's  state. 

Signed :  Hiroshige. 


146.  The  Same. 


>  7  '  V 


Green  grass  and  shore,  without  g 
Artist’s  impression.  Publisher’s  state. 
Signed  :  Hiroshige. 


A7  . 


dation  on  man’s  coat;  in  brilliant  state. 


147.  I  shiyakushi,  1  shiyakushi  Ji. 


Temple.  In  some  plates  the  blue  hill  in  the  background  is  missing.  .4  very 
fine  design,  delicate  in  detail.  (No.  45.) 

Artist's  impression.  Collector’s  state. 

Signed :  Hiroshige. 


From  the  Hayaslii  collection. 


First  Afternoon  Session 


Au*  (A  A. 


148.  Shono,  Haku-ii. 

Rain  storm.  Tlie  most  celebrated  storm  scene  ever  done  by  Hiroshige.  Note 
the  black  characters  on  tlie  umbrella :  “Take  no  Uchi  Han.  Goju  San 
Tsugi,”  which  do  not  appear  on  later  impressions.  A  superb  print  in  every 
way.  (No.  46.) 

Artist's  impression.  Publisher's  state. 

Signed :  Hiroshige. 

From  the  de  Goncourt  collection. 

(Illustrated,  plate  XVI) 


149.  The  Same.  A  Variation. 

The  later  edition,  with  inscription  on  umbrella  omitted. 
c/.  example  of  the  vast  differences  in  printing. 

Late  impression.  Collector's  state. 

Signed:  Hiroshige. 


Another  striking 


//S'- 


// 

150.  Kameyama,  Yuki  Hare.  a  ° 

Clear  weather  after  snow ;  one  of  the  masterpieces  which  gives  this  series 
its  well  deserved  renown.  Note  how  the  master  ties  the  composition  to¬ 
gether  with  the  two  trees  in  the  center.  A  superb  copy.  (No.  47.) 

Artist's  impression.  Collector's  state. 


Signed:  Hiroshige. 


From  the  de  Goncourt  collection. 


22 


151.  Selti,  Ilonjin  Sotatsu.  2V  ' 

Early  start  from  headquarters;  the  decorative  hangings  with  the  Effective 
g-#  crests  are  a  striking  feature.  (No.  48.) 

Artist’s  impression.  Collector's  state. 

Signed :  Hiroshige. 


/A 


152.  Saka-no-shita,  Fude  Sute  Mine.  ^ 

Throwing-away-the-brusli-Peak ;  it  was  said  that  the  artist  in  despair  threw 
down  his  brush  (No.  49). 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 

From  the  de  Goncourt  collection. 


153.  Tsuclii  Yarna,  Haru  No  Ame. 


e.  J’ 


A  j. 


Spring  shower.  The  red  and  green  coats  and  the  yellow  mushroom  hats 
relieve  the  gray  of  a  rainy  day.  A  fine  soft  impression.  (No.  50.) 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


vT. 


154.  Mizu  Kuelii,  Meibntsu  Kampyo. 

Dried  gourds  are  the  “noted  product”  of  this  s 
Fine  impression.  Publisher' s  state. 

Signed:  Hiroshige. 


(No.  51.) 


First  Afternoon  Session 


155.  Ishibe,  Me  Gawa  Sato. 

Me  River  Village.  The  streaks  of  mist  across  the 'sky  are  here  in  great 
beauty.  A  truly  marvelous  impression ;  one  of  the  gems  of  the  collection. 
(No.  52.) 

Artist’s  impression.  Publisher’s  state. 

Signed :  Hiroshige. 

(Illustrated,  plate  XVI ) 


156.  Kusatsu,  Meibutsu  Tateba. 

Celebrated  products  post-house;  various  styles 
J (No.  53.) 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


of  kago  or  palanquin. 


157.  Otsn,  Soii  Chaya. 

Soii  tea  house ;  early  issues  show  the  faintly  outlined  green  hill  at  the 
/&7  back.  (No.  54.) 

Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


158.  The  Same.  A  Variation. 


as: 


The  green  hill  at  the  back  is  omitted. 
Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Rich  in 


color. 


159.  Kyoto,  Sanjo  Ohashi.  6 

Long  Bridge,  Third  Avenue ;  from  tnis  bridge  the  river  and  surrounding 
hills  of  Kyoto  formed  the  favorite  view  of  the  dwellers  of  the  Eastern 
Capital,  as  Nihon  Bashi  was  the  principal  view  point  of  Yedo.  (No.  55.) 
Fine  impression.  Collector’s  state. 

Signed :  Hiroshige. 


KYOTO  MEISHO 

Views  of  Kyoto 


Complete  set  of  ten  full  size,  horizontal  plates  in  fine  condition ;  each  signed  with 
stamp  of  publisher. 

160.  Kinkakuji.  7^ 

The  gold-plated  Temple,  with  its  picturesque^ garden,  is  still  one  of  the 
favorite  sights  of  the  city.  Beyond  it  a  mountain  rises  out  of  the  mist. 
A  remarkably  fine  copy  ivith  the  mountain  top  printed  a  golden  brown,  which 
CJ  harmonizes  beautifully  ivith  the  golden  temple.  No  other  copy  in  this 

printing  has  come  under  my  observation. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


First  Afternoon  Session 


1(51.  The  Same. 


/c/T 


The  usual  printing;  the  mountain 
Good  impression.  Collector's  state. 
Signed:  Hiroshige. 


top  gray. 


1(52.  Tsuten  Ivyo  no  Kofn.  ^  ^  • 

Red  Maples  of  Tsuten  Bridge.  A  gorge  spanned  by  a  covered  bridge; 
flaming  maples  on  each  bank:  this  print  is  rarely  seen  nitli  the  tan  in  this 
brilliant  state.  •  - 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


/z 


16,4.  The  Same. 

A  different  printing. 

0  Late  impression.  Collector's 
Signed:  Hiroshige. 


state. 


AT 


164.  Arashi  Varna. 


The  hillside  is  covered  with  cherry  blossoms.  rl'he  smoke  from  the  fire 
on  the  raft  is  distinct  only  in  early  proofs. 

Good  impression.  Good  state. 

Signed:  Hiroshige. 


165.  Yatsuse  Village. 

The  women  carry  heavy  loads  on 
color. 

Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


their  heads;  a  spring  landscape  of  rich 


166.  Yodo  Gawa. 


One  of  the  finest  in  the  series;  a  large  boat  with  oarsmen  in  the  stern. 
A  very  beautiful  print. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


1  67.  <7 ion  Temple  in  Snow. 

Often  reproduced;  note  the  fine  quality  of  the  blue  torii ;  a  fine  ‘'copy  of  a 
noted  print. 

6  .  Artist's  impression.  Good  state. 

Signed:  Hiroshige. 


168.  The  Same. 

A  stronger  printing. 
Fine  impression.  Collector's 
Signed:  Hiroshige. 


state. 


( Illustrated ,  plate  XVI 1) 


First  Afternoon  Session 


169.  Sliimabara  Exit. 

The  entrance  of  the  Yoshiwara. 
y  Late  impression,  (load  state. 

Signed:  Hiroshige. 


'Y.  £. 


> 


1  TO.  Thunder  Storm  at  Tadashi. 

People  are  hurrying  to  seek  shelter  from  a  storm.  Itiver  and  footbridge 
in  foreground.  Rare  in  this  printing  and  slate. 
l  ine  impression.  Collector’s  state. 

Signed:  Hiroshige. 

( Illustrated ,  plate  XVII) 


171.  Kiyomidzu  Temple. 


•/ZTTc  «*,<-'£  XcT.  Xi  e 


7 


A  large  wooden  temple  among  cherry  blossoms  on  the  side  of  a  hill. 
Fine  impression.  Collector's  state. 

Signed:  Pliroshige. 


1  72.  Night  Scene  on  the  River  Red. 

Artist’s  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


THE  UPRIGHT  TOKAIDO  SET 


A  part  of  the  set;  all  full  size,  numbered  and  seal  dated,  Hare  7,  1855,  and  with 
publisher’s  seal,  Tsutaya. 

?y. 

173.  Kawasaki. 

Junlc  with  yellow  sail  in  foreground ;  Fuji  in  distance.  Delicate  in  im- 
pression  and  color.  (No.  3.) 


Artist's  impression.  Collector’s  state. 
Signed:  Hiroshige. 


7Y  Jr 


y  nJj 


174.  Kanagawa. 

Moonlight  view.  Two  women  and  a  man  on  the  balcony  of  a  tea  hofose. 
(No.  4.) 

Good  impression.  Collector’s  state. 

Signed:  Hiroshige. 


S/ 


175.  Fujisawa. 

Travelers  in  the  foreground  among  pine  trees.  Fuji  in  the  distance.  Ex- 
&  treme  delicacy  of  printing.  (No.  7.) 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXI) 


7 


176.  Oiso.  ^  *  '/  *' 

A  tine  sheet  of  water  stretching  to  a  mountain  in  the  distance.  (No.  9.) 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


First  Afternoon  Session 


3  left. 


177.  N  urnadzu. 

A  fine  snow  scene.  Two  figures  crossing  a  small  bridge.  Fuji  at  the 
(No.  13.) 

Z*.  Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


/Ct. 


178.  Hara. 

Fuji  dominates  the  picture,  its 
print;  a  bold  design;  exquisitely 
Artist's  impression.  Collector's  state. 
Signed:  Hiroshige. 


peak  extending  into  the  margin  of  the 
printed.  (No.  14.) 


179.  Yoshiwara. 


Fuji  rising  beyond  a  marsh,  where  men  are  fishing.  A  striking  design. 
(No.  15.) 

Good  impression.  Good  state. 

Signed:  Hiroshige. 


7 


jrcf 


1 80.  Yni. 


The  sea  at  the  right;  a  path  climbing  the  mountain  at  the  left;  Fuji  in  the 
distance.  Fine  greens,  grays  and  yellows.  (No.  17.) 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


181.  Okabe. 


A  gray  hill  towering  above  clouds  and  mist  in  the  distance. 
£  Fine  impression.  Collector' s  state. 

Signed :  Fliroshige. 


(No.  22.) 


182.  Fnjieda. 

Travelers  crossing  a  stream  near  two  weeping  willows;  great  delicacy  o/ 
printing  and  softness  of  color.  (No.  23.) 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


183.  Futagawa.  //  -*  * 

A  tea  house  in  the  foreground  at  the  base  of  a  hill  studded  with  small 
j-0  pines.  (No.  34.) 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


/2 


184.  Fujikawa. 


A  fine  snow  scene;  travelers  descending  to  a  village  on  right;  a  bit  of 
beautiful  blue  water  on  left.  (No.  38.) 

Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


First  Afternoon  Session 


3. 


185.  Narami. 

A  village  street;  variegated  cloths  hanging  on  poles. 
in  soft  colors.  (No.  41.) 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


A  decorative  design 


186.  Yokkaichi. 


Three  coolies  crossing  a  small  bridge.  Lowlands  running  down  to  the 
sea  with  sails  in  the  distance.  (No.  44.) 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


O. 


187.  Kameyama. 


sK  & 


A  rain  scene;  the  sky  broken  by  lightning;  a  very  effective  design.  (No.  47.) 
Fine  impression.  Collector’s  state. 

Signed :  Hiroshige. 


188.  Seki. 


£ 


A  torii  in  the  center;  an  exquisite  blue  mountain  in  the  distance.  (No.  48.) 
Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


7 


s 


1 89.  Okazaki. 

A  man  washing  a  horse  under  a  high  bridge 
Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


(No.  39. 


1 90.  otsu.  ^  /jr 

Travelers  standing  on  a  terrace  admiring  Fuji  across  the  water;  a  village 
at  the  water’s  edge  below  them;  a  remarkably  fine  impression.  (No.  54.) 
Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


KOKON  JORURI  TSUKUSHI 


Ancient  and  modern  dramas  illustrated;  a  rare  series;  all  full  size  upright  and 
signed  Hiroshige;  all  in  fine  color  and  dramatic  in  design. 


7v37~ 


191.  Iveisei  Ivoi  Bigaku. 


Chubei,  who  has  robbed  the  government  to  buy  out  his  love  Umegawa  from 
the  Yoshiwara,  has  fled  to  his  father’s  house  to  hide;  Umegawa  seeks  him 
and  has  just  mended  his  father’s  old  clog  for  him. 

Artist’s  impression.  Publisher’s  state. 

Signed :  Hiroshige. 


First  Afternoon  Session 


/* 


a  Him*  fniic 


>^7  /  m*  / 

192.  Some  moyo  Imose  no  Kadoinatsu. 

The  retainer  Hisamatsu,  serving  in  the  house  of  O  Some's  father,  falls  in 
love  with  her,  and  kneeling  by  the  torii  of  a  temple  in  persuading  her  to 
S  6  elope  with  him. 

Artist’s  impression.  Publisher's  state. 

Signed:  Hiroshige. 


S0 


193.  Ivatsnragawa  Renai  no  Sliigarame. 


Choyemon,  a  man  forty  years  of  age,  taking  his  youthful  love,  O  Han,  on 
his  hack  to  the  Katsura  river  to  commit  suicide  together.  A  fine  moon¬ 
light  scene,  in  brilliant  state. 

Artist's  impression.  Publisher's  state. 

Signed :  Hiroshige. 


194.  Another  of  the  Series. 

Two  figures  in  the  foreground ; 
Artist's  impression.  Publisher's  state. 
Signed:  Hiroshige. 


Fuji  on  the  right. 


195.  Another  of  the  Series. 


A  snow  scene  on  the  bank  of  a  stream. 
Artist's  impression.  Publisher's  state. 
Signed:  Hiroshige. 


Ap  -  V-  , 


196.  Another  of  the  Series. 


A  snow  scene ;  man  and  woman  quarreling  on  a  balcony. 
Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


MU  TAMA  GAWA 

Complete  series  of  six  full  size  upright  plates;  all  signed  Hiroshige;  issued  in 
1857.  Mr.  Happer  considers  this  one  of  Hiroshige’s  finest  upright  sets. 


197.  Settsn.  Koromo  Uclii. 

Cloth  pounding.  Two  women  pounding  cloth  with  mallets  in  the  moon- 
/£>  light ;  a  poetical  design. 

Fine  impression.  Publisher's  state. 

Signed :  Hiroshige. 


198.  Omi  Noji.  h  /, 

A  poet  with  two  attendants  is  watching  the  reflection  of  the  moon  in  the 
water. 

Fine  impression.  Publisher's  state. 

Signed:  Hiroshige. 


First  Afternoon  Session 


199.  Yamashiro,  Ide. 


The  poet  oil  a  white  horse  standing  in  the  middle  of  the  river. 
Good  impression.  Publisher's  state. 

Signed:  Hiroshige. 


/c? 


200.  Musachi  Chofn. 


Women  washing  clothes  by  the  river  side. 
Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


201.  Michonnkie  Noda 


♦  ^ 


zsr 


A  woman  and  her  servant  watching  a  flight  of  birds. 
Fine  impression.  Collector' s  state. 

Signed:  Hiroshige. 


// 


202.  Ivii  Kay  a.  ' 

Pilgrims  standing  by  the  river  gazing  at  its  swiftly  running  waters. 
Illustrated  in  the  “Heritage  of  Hiroshige.” 

Fine  impression.  Publisher' s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXT) 


TWO  PRINTS  FROM  T1IF  FISH  SERIES 


203.  Carp. 

Full  size  horizontal  plate. 
Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


204.  Two  Fish. 

Full  size  horizontal  plate. 

Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 

tWxk 


NANI WA  MEISHO 


Views  of  Naniwa  (poetic  name  of  Osaka).  Two  full  size  horizontal  plates;  pub¬ 
lisher’s  stamp.  Yeisendo.  Early  work. 


205.  Jmamiya  Toka  Ehisn. 


$  /fr'  f.  C 


Festival  of  Ebisu  at  Imamiya.  A  crowd  of  ]ieople  promenading  the  river 
bank,  carrying  branches  of  bamboo,  decorated  with  luck  objects:  a  joyous 
print  in  beautiful  color. 

Artist's  impression.  Publisher' s  state. 

Signed:  Hiroshige. 


(Illustrated,  plate  XIX) 


First  Afternoon  Session 


/O 


206.  Shimmachi  Kuken  Clio.  /*/. 

Kuken  street  Shimmachi,  the  courtesan  quarter ;  a  procession  of  the  prin¬ 
cipal  women  entering  one  of  the  houses  after  a  parade,  with  a  line  of  sight¬ 
seers  drawn  up  opposite.  Beautiful  color. 

Artist's  impression.  Good  state. 

Signed:  Hiroshige. 


207.  Extra  Long  Horizontal  Print. 

17  inches  by  12  inches.  View  of  the  drapery  shop  of  Taketani  Sabei;  signed 
Ichiryusai  Hiroshige  of  Toto  (Yedo)  with  stamp  of  engraver,  Take;  Long 
y  *7  &  &  strips  of  dyed  cloth  are  hanging  out  to  dry,  of  the  material  called  Arimatsu 

"  (place  of  manufacture)  Shibori.  The  largest  single  block  of  any  of  this 

artist’s  works.  Rare. 

Late  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


PP.  Jh/m 


YEDO  KINKO  HAKKEI 

Suburbs  of  Yedo. 


3JT 


Publisher’s  stamp  of  Kikukado;  full  size  horizontal.  Prints  of  this  series 
are  rare  in  any  state. 


208.  Ikegami,  Vesper  Bells. 


The  temple  approached  by  a  steep  flight  of  steps  stands  in  a  dense  wood 
of  eryptomeria.  Trees  in  blue  mist  in  the  background. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


209.  Shibaura,  Clearing  Weather.  /,  '• 

Two  large  junks  in  foreground.  Low  wooded  hills  in  distance. 
Cf.  Artist’s  impression.  Ordinary  state. 

Signed:  Hiroshige. 


MU  TAMA  GAWA 


Six 


210. 


Tama  Rivers,  Six  Rivers  of  the  same  name  in  various  parts  of  Japan.  Pub¬ 
lished  by  Tsutaya,  whose  seal  is  on  the  margin. 


Michi  nokn. 


Two  court  ladies  and  an  old  man  watching  a  flight  of  birds;  full  size 
horizontal  plate. 

A  supreme  copy  in  magnificent  condition;  as  fresh  as  the  day  it  came  from  the 
block ,  yet  the  colors  are  soft  and  beautiful. 

Artist’s  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


211.  Onna  Gioretsu  Takanawa  no  dzu. 


y 


Procession  of  women  aUTakanawa.  One  sheet  of  a  rare  horizontal  triptych  : 
highly  decorative. 

Fine  impression.  Ordinary  state. 

Signed:  Hiroshige. 


First  Afternoon  Session 


~7 


212.  One  Print. 


From  a  lialf  plate  horizontal  Tokaido  set  published  by  Tsutaya ;  Ejiri ;  a 
fine  rain  scene  in  beautiful  color. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


s_i7. 


213.  One  Print. 


From  a  series  of  half  plate  set  of  the  thirty-six  views  of  Fuji;  Segami ; 
Fuji  appears  beyond  a  mountain  of  wave  in  the  foreground.  Soft  colors. 
Artist's  impression.  Collector’s  state. 

Signed :  Hiroshige. 


EIGHT  VIEWS  OF  LAKE  BIWA 

Quarter  plate  horizontal  plates.  Four  mounted  on  one  sheet.  Rich  in  color. 


f 


(1)  Seta,  (2)  Mt.  Ilira,  (3)  Geese  at  Kataela,  (4)  Yaba- 
slii.  Returning  Boats.  ^ 


Good  impressions.  Publisher’s  state. 
All  signed:  Hiroshige. 


Tr.^7 


7 


215.  Four  more  of  the  Same  Set:  (5)  Ishiyaina,  (6)  Kara- 
saki,  (7)  Owazu,  (8)  Mii,  Vesper  Bells. 

Good  impression.  Publisher’s  state. 

All  signed:  Hiroshige. 


NT  IT  ON  MINATO  TSUKUSHI 

Harbors  of  Japan,  published  by  Maruzei;  full-size  horizontal;  all  signed  Hiro¬ 
shige;  a  rare  set. 

216.  Yetlo  Bashi.  J ^  - 

A  sunrise  scene ;  Fuji’s  white  cone  seen  above  the  intervening  mis^ 

Good  impression.  Collector's  state. 


?r?rr. 


sz 


21 7.  Shimizu. 

In  Suruga  Province;  a  green  spit  of  land  with  artistic  pines  divides  the 
picture;  a  beautiful  impression. 

Artist’s  impression.  Collector' s  state. 


£  £ 


21 8.  tlraga. 

A  superb  snow  scene,  the  finest  of  the  series. 
Artist’s  impression.  Collector’s  state. 


e. 


7* 


V  run  d»-  7 

X  219.  Shinagawa.  ( 

The  bay  stretches  away  in  the  moonligpt:  the  lanterns  are  marked  with 
device  of  publisher  and  artist. 

Fair  impression.  Good  state. 


^ . 


✓2? 

3. 

3. 

3. 

£/ 


/*  - 


First  Afternoon  Session 


220.  Nakasu. 

One  of  tlie  inlets  of  Yedo  bay ;  only  sails  of  boats  itre  seen  above  the  marshy 
bank. 

Good  impression.  Collector's  state. 


22\ .  Marugami. 

Sanuki  Province. 

Late  impression.  Collector's  state. 


^T'Fv'-c 


222.  Aji  Kawa  Guchi. 

Large  junks  at  anchor. 

Good  impression.  Publisher’s  state. 


AV.J’  AALp^cZC. 


223.  Shimonoseki.  /,  ^  y' 

The  entrance  to  the  inland  sea. 

Late  impression.  Collector's  state. 

224.  Muronotsu.  /f 

A  large  junk  leaving  the  harbor. 

Good  impression.  Collector's  state. 


GENJI  GOJUSHI  KO 


Fifty-four  views  of  Genji.  Five  full  size,  horizontal  plates;  signed  and  sealed 
“Pat  intercalary,”  which  fixes  the  date  at  1852,  second  extra;  mounted  on  five  sheets. 
A  very  rare  set;  only  these  five  sheets  are  known  (Ilapper). 

They  arc  all  fine  designs,  of  uniformly  wonderful  impression,  in  magnificent  con¬ 
dition  and  in  beautiful  color,  brilliant  and  sparkling.  In  every  plate  the  grain  of 
the  block  is  distinct.  Each  plate  has  the  signature  Hiroshige  on  a  delicate  pink 
ground. 


225 A. 

Artist's  impression. 
Signed:  Hiroshige. 


Publisher's  state 


te. 


T 


225B. 

*  Artist's  impression. 
Signed:  Hiroshige. 


Publisher's  state. 


(Illustrated,  plate  XIX) 


s. 


One  of  the  finest  of  the  series.  Vo  te  how  the  grain  of  the  wood  on  the 
ground  resembles  the  drifting  of  sand. 

J  t 

Artist's  impression.  Publishers  state. 

Signed:  Hiroshige. 


S/ 


(Illustrated,  plate  XIX) 


First  Afternoon  Session 


225D. 


/a 


4^2 


One  of  the  finest  of  the  series. 
Artist’s  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


225E. 


Artist’s  impression. 
Signed :  Hiroshige. 


Publisher’s  state. 


CHIUSIIINGURA 

The  Drama  of  the  Forty-seven  Ronins.  A  complete  series  of  sixteen  full-size  hori¬ 
zontal  plates;  by  making  six  plates  to  illustrate  the  eleventh  Dan  or  Act,  the  usual 
number  of  plates,  eleven  or  twelve,  is  expanded  to  sixteen;  published  by  Sen  Ichi, 
whose  stamp  in  black  is  on  the  face  of  each  print.  A  celebrated  set ,  full  of  dramatic 
power  and  picturesque  scenes.  Middle  period.  (Happer.) 


226.  Act  I. 


A  dramatic  design. 

Artist’s  impression.  Collector’s  state. 
Signed:  Hiroshige. 


227.  Act  IT. 

/  p  — ^  Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


4  e, 


228.  Act  III. 

& O.  Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


229.  Act  IV. 


In  fine,  soft  printing. 

Artist’s  impression.  Collector' s  state. 
Signed:  Hiroshige. 


230.  Act  V. 


A  toned  copy,  full  of  atmosphere. 
Artist’s  impression.  Collector's  state. 
Signed:  Hiroshige. 


A  strong  design. 


231.  Act  VI. 

Artist’s  impression.  Collector's  state. 
Signed:  Hiroshige. 


232.  Act  VII. 

~  Good  impression.  Publisher’s  state. 

'7~  Signed:  Hiroshige.  4 


First  Afternoon  Session 


/7 


233.  Act  VIII. 

A  charming  and  effective  design. 
Artist's  impression.  Collector's  state. 
Signed:  Hiroshige. 


<2 /V- 


234.  Act  IX. 

Artist's  impression. 
Signed:  Hiroshige. 


Publisher's  state. 


/, 


/7Cf- 


235.  Act  X. 

A  strong  design  in  low  tones.  A  beautiful  piece  of  printing. 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


/7 


236.  Act  XI. 

(No.  1.)  A  night  snow  scene.  The  bridge,  the  Ronins,  waiting  in  the  boat. 
-£7  A  famous  print;  soft  grays,  blues,  greens  and  yellows;  a  striking  design, 

often  reproduced. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XIX) 


/7 


237.  Act  XI. 

(No.  2.) 

Artist's  impression. 
Signed:  Hiroshige. 


Collector's  state. 


/7— 


238.  Act  XI. 

(No.  3.) 

Artist’s  impression.  Publisher' .s  state. 
Signed:  Hiroshige. 


/7 


239.  Act  XI. 

(No.  4.) 

Artist’s  impression.  Collector’s  state. 
Signed:  Hiroshige. 


/, 


/7 


240.  Act  XI.  < 

This  print  is  also  numbered  4.  It  probably  should  be  No.  5.  this  number 
not  appearing  on  any  of  the  plates.  Intensely  dramatic  design. 

Artist’s  impression.  Publisher's  state. 

Signed:  Hiroshige. 


241.  Act  XI. 


(No.  6.) 

Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


-7 


First  Afternoon  Session 


HIROSHIGE’S  BIRDS  AND  FLOWERS 

"Tlie  peacock  in  his  proud  repose, 

Wild  geese  that  rush  across  the  moon, 

The  sleepy  little  owl  that  knows 
The  wiiul-among-the-tree-tops  tune. 

The  kingfisher  that  darts  and  glows 
Over  the  reeds  of  the  lagoon.” 

— Arthur  Davison  Ficke. 

PANELS  ABOUT  FIVE  INCHES  BY  FOURTEEN  AND  ONE-HALF  INCHES 

242.  Parroqnet  on  Flowering’  Branch. 

A  remarkably  fine  design. 

Artist's  impression.  Collector's  state. 

/ ^  Signed:  Hiroshige. 

From  the  Wakkai  collection. 

(Illustrated,  plate  XXVI) 

£ 

243.  Brilliant  Bine  Bird  and  Yellow  Flower. 

The  bird  is  standing  on  a  stalk  and  dipping  its  beak  into  a  wide  open 
yellow  blossom  with  crimson  marks  around  the  corona. 

Z.  0.  Artist’s  impression.  Collector’ s  state. 

Signed:  Hiroshige.  v 


244.  White  Heron  and  Rushes. 


Extremely  simple  in  design  and  color;  the  white  feathers  of  the  bird  in 
gauffrage. 

One  of  the  treasures  of  this  or  any  collection.  A  noted  print. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


245.  Ducks  on  Ice. 

Maple  leaves  falling  about  them. 
Artist’s  impression.  Collector’s  state. 

/ 

Signed:  Hiroshige. 


7^ 

246.  Pheasant  on  a  Snowy  Pine.  ° ' 

Simple  in  design  and  color,  but  one  of  the  finest  prints  in  the  collection. 
The  brilliant  touch  of  blue  in  the  bird's  feathers  seems  to  glow  with  life. 
'£r.  Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXVII) 


247.  Bamboo  and  Sparrow. 

A  well  known  print,  finely  graded  at  top  and  bottom;  gauffrage. 


Artist’s  impression.  Publisher's  state. 


Signed:  Hiroshige. 


(Illustrated,  plate  XXVII) 


First  Afternoon  Session 


248.  Convolvulous. 

Flower  design  on  a  soft  gray  background.  A  superb  copy  of  one  of  Hiroshige's 
finest  flower  designs. 

/  Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXIV) 


249.  Peacock  and  Flowering  Maple. 


%7 


A  well  known  print ,  but  rarely  seen  in  the  fine  impression  here  shoivn. 
Artist's  impression.  Collector' s  state. 

Signed:  Hiroshige. 

From  the  Hayashi  collection. 


77 


250.  Wild  Geese,  Moon  and  Clouds. 

Three  geese  in  a  line  flying  downward  across  the  half  disc  of  the  moon  and 
blue  clouds.  Baka  or  “Fool”  seal. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


251.  Cuckoo  in  Rain.  &  ^ 

The  bird  flying  with  the  storm  above  the  feathery  branches  of  a  tree.  A 
well  knorvn  print. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


252.  Sparrow  and  Wild  Rose. 


77 


sy 


Printed  with  gauffrage. 

Artist's  impression.  Collector’s  state. 
Signed :  Hiroshige. 


253.  Falcon  on  a  Perch. 


cf  ^ 


The  bird  is  watching  the  flight  of  a  sparrow;  narcissus  growing  beside 
the  perch.  Note  the  beautiful  printing  of  the  feathers  on  the  breast  of  the 
bird. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


254.  Owlet  and  Pine. 


The  bird  sits  on  a  bough  blinking  and  turning  its  head  from  the  crescent 
moon.  The  poem  translated :  “Owlets  may  sail  in  the  boat-shaped  moon, 
while  their  ears  catch  sounds  like  a  koto  tune,  played  by  the  breeze  passing 
through  the  pines.” 

Artist’s  impression.  Defective  state. 

Signed:  Hiroshige. 


First  Afternoon  Session 


BIRD  AND  FLOWER  PANELS,  FOUR  ON  A  BLOCK 


255.  A  Spray  of  Iris. 

Artist’s  impression.  Publisher’ s  state. 
Not  signed. 


/«r 


256.  Canary  and  Red  Flower. 

Good  impression.  Good  state. 

Signed :  Hiroshige. 


t.  f  P  ^ 


251.  Butterfly  and  Pink. 

Black  and  white ;  a  very  delicate  design. 
/ 2.  Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


258.  Swallows.  /,  * 

A  branch  of  drooping  blossoms  against  a  yellow  ground. 
/  %  'f' a  Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


V 


Evening  Session 

At  the  American  Art  Galleries 
8  o’clock 

November  18,  1916 


KIYONOBU  I 

(1664-1^29) 

259.  An  Actor  as  a  Warrior.  ^  > 

He  is  standing  on  a  well-curb,  drawing  a  two-handed  svirord. 

A  characteristic  example  of  the  very  early  Torii  style  of  actor-painting, 
/£>.  powerful  and  savage.  Hoso-ye.  Hand  colored,  with  lacquer. 


KIYONOBU  II 

(Worked  c.  1740-1756) 

260.  Two  Actors.  TV' 


The  actor  Nakayama  Kumetaro  as  a  woman  and  the  actor  Nakamura 
Gwanzo  as  a  Samurai ;  in  the  background,  a  hilly  landscape  with  the  ban¬ 
ners  of  a  Daimyo  procession  appearing  beyond  the  crest. 

Size  11x5.  Printed  in  two  colors.  These  so-called  “ beniye ”  (rose  and  green)  arc 
rare. 


KIYOMASU 

(c.  167 9-17 68) 


261.  Two  Actors. 


tS - - 


The  actor  Kanto  Ivokoru  as  a  woman  and  the  actor  Ishikawa  Danjuro  a 
man,  outside  the  veranda  of  a  house.  A  stream  in  background. 

Horizontal  sheet,  11x16.  Printed  in  black-and-white  only.  Fine  design.  These 
early  black-and-white  prints  are  of  great  rarity  and  importance. 

( Illustrated ,  plate  I) 


/^T 


262.  Interior. 

The  actor  Sawamura  Sojuro  in  the  role  of  a  Samurai. 
Size  12x6.  Hand-colored  with  lacquer  and  metallic  powder. 


y/f. 

In  fine  condition. 


263. 


SHIGENOBU 

(Worked  c.  1720-1740) 

An  Actor  as  a  Courtesan  Tying  Her  Girdle. 


Size  11x6.  Hand-colored,  with  lacquer  and  metallic  powder. 


264. 


SHIGENAGA 

(1697-1756) 


The  Shore  of  Lake  Biwa. 


/0. 


Four  passers-by  in  the  foreground ;  beyond  them,  a  house  built  out  over  the 
water. 

Size  13x6.  Hand-colored  with  lacquer. 


Evening  Session 


KIYOTSUNE 

(Worked  c.  1750-1770) 


265.  Two  Actors. 


The  actor  Segawa  Kikunojo  as  a  woman  and  the  actor  Bando  Hikosabu.ro 
rg  +T  A  as  a  man,  both  seated  on  a  pile  of  sleeping-mats  and  reading  a  long  scroll. 

,  Size  10x5.  Printed  in  three  colors. 


266.  Early  Morning. 

A  girl  is  lighting  a  lamp  in  foreground ;  in  background  a  woman  is  smok¬ 
ing  and  a  man  is  sleeping  under  a  mosquito  netting. 

The  sentiment  of  the  poem  inscribed  on  the  print  is  similar  to  Swinburne’s 
“Ah  God,  ah  God,  that  day  should  he  so  soon.” 

Pillar-print.  Printed  in  four  colors.  A  rare  work. 


KIY0HIR0 

(Worked  c.  1740-1761)) 

267.  The  Actor  Nakamura  Snkegoro  as  a  Man  in  Flowing 
Robes. 

He  is  standing  on  the  bank  of  a  river;  a  frog  crouches  at  the  edge  of  the 
water,  and  from  the  frog’s  mouth  rises  the  vision  of  a  Kakemono. 

Size  9x5.  Printed  in  three  colors.  In  fine  condition. 


KORIUSAI 


(Worked  c.  1770-1781) 


268. 


“Homing  Geese  at  Sansha  Tea  Ilonse.” 


A  courtesan  and  her  two  attendants  seated  before  a  latticed  window ;  out¬ 
side,  wild  geese  are  flying. 

Size  10x7.  In  fine  condition.  From  a  series,  “Furi  jinrin  Mitate  Hakkei,”  Eight 
selected  views  of  human  relationships. 

This  is  one  of  the  • are  examples  of  a  full-face  portrait  drawn  by  the  Japanese, 
print-designers. 


269.  Two  Courtesans  on  a  Wharf. 


They  are  approaching  a  boat  in  which  a  masked  gallant  awaits  them. 
$s:  Size  10x7.  In  soft  color. 

270.  Two  Women  in  Flowing  Robes  Leading  a  House. 

7  ^  Size  9x7. 


271.  A  Girl  and  Her  Lover.  ^  J/  _ 

They  are  seated  on  a  bench  by  a  brook,  watching  the  fireflies. 

Size  10x7.  One  of  a  series,  “Furyu  ju-in  Setsu.”  Refined  twelve  months. 
grace  of  the  girl's  figure  reminds  one  of  Harunobu. 


The 


* 


Evening  Session 


t.j: 

272.  A  Courtesan  in  Robes  Decorated  with  Plum  Blossoms. 


She  is  accompanied  by  three  women  and  two  girls. 

Full-size  upright  sheet,  without  background.  From  the  series,  “Hinagata  Wakana 
no  Hatsumoyo,”  Designs  of  Spring  Greenery,  to  which  Kiyonaga  also  con¬ 
tributed. 

( Illustrated ,  plate  VIII) 


HARUNOBU 

(c.  1725-1770) 


273.  Girl  with  Umbrella  Walking  bv  a  Stream. 


She  is  engaged  in  watching  a  jumping  frog. 

Pillar-print. 

The  subject  is  a  parody  on  the  ancient  legend  of  the  great  caligrapher,  Ono  no 
Tofu,  who  learned  persistence  by  watching  the  repeated  attempts  of  a  frog 
to  catch  an  insect  on  a  willow-branch.  This  is  one  of  Harunobu' s  earliest 
prints,  and  a  great  rarity.  It  is  printed  in  four  colors.  From  the  Hayashi 
and  Wakai  collections. 


'  274.  The  Actor  Bando  Hickasaburo.  ^ . 

He  is  in  the  role  of  a  Kornuso,  carrying  a  basket  hat. 

Pillar-print.  A  very  early  Harunobu,  in  the  style  of  the  primitives.  One  of 
Harunobu’s  few  actor-desiyns.  Printed  from  three  blocks,  which  by  over- 

r  a 

printing  are  combined  to  produce  six  tones.  Of  exceptional  rarity,  and  of 
great  distinction. 

(Illustrated,  plate  X) 


275.  A  Courtesan  in  Trailing  Robe,  with  Girl  Attendant. 


— 


Pillar-print  without  background.  A  notable  and  unusual  composition. 


276. 


a  <y 


Shirai  Gompaclii  with  Basket  Hat  and  Elute. 


“ From  an  infinite  distance,  the  ghostly  music! 

Few  and  slender  the  tones,  of  delicate  silver, 

As  stars  are  broidered  on  the  veil  of  evening. 

He  passes  by,  the  flute  and  the  dreaming  player — 
Slow  are  his  steps,  his  eyes  are  gravely  downcast; 
His  pale  robes  sway  in  long  folds  with  his  passing. 


Out  of  the  infinite  distance,  a  ghostly  music 
Returns  in  slender  tones  of  delicate  silver, 

As  stars  are  broidered  on  the  veil  of  evening." 

—A.  D.  F. 

Pillar-print.  In  fine  condition.  One  of  the  treasures  of  this  or  any  collection. 

(Illustrated,  plate  X) 


277.  Young  Samurai  with  Falcon. 

j/s  „  Pillar-print.  A  composition  of  extreme  simplicity  and  dignity. 

(Illustrated,  plate  X) 


Very  soft  color. 


Evening  Session 


( '0^7 


278.  Courtesan  Burning  a  Letter. 

She  sees  a  vision  of  her  lover  in  the  smoke. 
Pillar-print.  In  marvelous  condition. 


279. 


MASUNOBU 

(Worked  c.  1764-1770) 

Woman  and  Child  Under  a  Wind-swept  Branch. 


XX.  ^ 


^  0  Pillar-print.  This  rare  pupil  of  Harunobu  here  rivals  the  master's  yrace.  In  fine 
yl  %  *  "  and  soft  colors. 


SHUNSHO 

(c.  1726-1792 ) 

280.  Two  Actors  as  Men  Fighting.  ^ a 

Size  13x6.  In  beautiful  condition  and  notable  color. 


/*: 


281.  The  Actor  Isliikawa  Yaozo  as  a  Samurai  with  Fan. 


Size  13x6. 


r>"'  /_ 


282.  The  Actor  Okubo  Tokugoro  as  a  Man  with  a  Long  Sword. 

0  He  is  standing  under  a  willow  on  the  bank  of  a  stream. 

Size  12x6.  In  flawless  condition. 


2* 


283.  The  Actor  Matsumoto  Kosliiro  as  a  Samurai  with  Two 
*  Swords.  ,  ^ 

Size  12x6.  In  fine  condition  and  beautiful  color . 


// 


284.  A  Man  in  Flowing  Robes  Standing  at  the  Edge  of  the 
Sea. 

He  is  looking  out  across  the  waves ;  in  background,  a  strip  of  reddish  cloud 
and  a  pine-covered  headland. 

Size  16x5.  The  lower  portion  of  a  pillar-print. 


285.  The  Actor  Iwai  Hanshiro  as  a  Woman. 

Size  12x6.  In  fine  condition. 


286.  The  Actor  Isliikawa  Danjuro. 

He  is  carrying  a  maple  branch. 

J?  0 .  Size  12x6.  In  fine  condition. 


^  £. 


Evening  Session 


387.  The  Actor  Ishikawa  Danjuro  as  a  Samurai. 

£ X  ^  Size  12x5.  In  fine  condition. 


7 


S~0 


388.  The  Actor  Ishikawa  Yaozo. 

lie  wears  a  robe  decorated  with  bamboo  leaves. 
Size  12x5.  In  good  condition. 


. 


/ 

389.  The  Actor  Sawamura  Sojuro  as  a  Man  with  a  Fan. 

Size  12x5.  In  fine  condition. 


7 


£TV 


SHUNKO 

(Worked  c.  1765-1800) 

390.  The  Actor  Nakamura  Tomijuro  in  Character. 

He  is  riding  a  hobby-horse. 


Size  12x6.  In  fine  condition. 


/  7 


391.  The  Actor  Segawa  Ivikunojo  as  a  W  oman. 

Size  11x5.  In  good  condition.  From  the  Hayashi  collection.  t 


393.  The  Actor  Yamasliita  Kinsaku  as  a  Courtesan. 


02 


s* 


Size  12x0.  In  beautiful  condition. 

(Illustrated,  plate  I) 


(2  l_z_ 


TTfr . 

393.  The  Actor  Sawamura  Sojuro  as  a  Courtesan. 

Size  12x6.  In  flawless  condition.  From  the  Hayashi  collection. 


^C7&. 


/o. 


KIY0NAGA 

( 1742-1815 ) 


A: 


394.  Two  Women  Accompanying  a  Man. 

The  man  is  carrying  a  little  girl  to  a  temple  for  the  Meyamairi  ceremony 
of  naming. 

Size  10x7.  Retouched.  Beautiful  color. 


395.  Three  Women  Accompanied  by  a  Man  with  Bows  and 
Arrows-  5^  y  S? 

Size  10x7.  Retouched.  Beautiful  color.  /. 

From  a  series,  “Furyu  Shiki  no  Tsuki.”  Refined  views  of  temple  visits 
the  four  seasons. 


(Illustrated,  plate  III) 


Evening  Session 


&c. 


310.  A  Woman  Seated  on  a  Veranda  Spinnin 

Another  woman,  accompanied  by  a  child,  fetches  water 
Size  8x6.  In  fine  condition. 


311.  Scene  on  a  Veranda.  </ 

A  standing  woman  adjusts  her  coiffure  while  a  seated  one  holds  out  a  hair 
24 '  pin  to  her.  In  background  a  screen  with  a  crane  and  pine  branches. 

Size  10x7.  Retouched.  Beautiful  color. 

(Illustrated,  plate  1) 


J7  2- 


313.  A  Woman  Standing  Beside  a  Screen.  f.  <7^ 

She  dangles  a  tassel  before  a  cat.  ( 

Size  12x6.  In  flawless  condition.  A  fine,  and  perhaps  an  unique,  impression  of 
one  of  this  rare  artist’s  most  attractive  designs. 

(Illustrated,  plate  III) 


/7 


313.  The  Courtesan  Konmrasaki  of  Kado  Tamaya.  ^  . 

She  is  writing  on  a  screen ;  two  girls  attend  her. 

Pillar-print.  Ao  other  example  of  this  print  has  come  to  light.  It  is  interestingly 
similar  to  Kitao  Masanobu’s  style  in  his  famous  book. 


314.  Two  Ladies. 

Pillar-print.  Mr.  J.  S.  II upper  sans  of  another  example  o 
Jo.  logue,  London,  1909:  “ This  is  one  of  the  gems  of  the  collection,  for  the 

quiet  dignity  of  pose  in  the  composition,  and  the  exquisite  simplicity  and 
harmony  of  the  colors.” 

(Illustrated,  plate  XI) 


.  2 


315.  A  Woman  Holding  Up  a  Kakemono. 

Behind  her  appears  Ilotei,  the  God  of  Good  Luck. 
Pillar-print.  Fine  condition. 


Pillar-print.  A  rich  composition  by  this  exceedingly  rare  artist. 


316.  Two  Lovers  Under  An  Umbrella. 


SHUNCHO 

(Worked  c.  1775-1800) 

317.  Two  Women  Standing  in  a  Boat  on  the  Sumida  River. 

One  holds  a  green  fan. 

Pillar-print.  A  restrained  and  subtle  composition,  distinguished  by  classical  line- 
work. 


318.  Courtesan  in  Purple  Rohe. 


Standing  beside  a  green  screen. 
Pillar-print.  A  design  of  peculiar  harmony. 


Evening'  Session 


319.  Woman  with  Fan,  Beneath  a  Willow.  'S. 

£7  (j  Pillar-print.  A  gracious  figure;  one  of  Shuncho's  masterpieces. 


320.  Woman  Standing  by  a  Torii,  Beside  the  Snmida  River. 

ss:  Pillar-print.  One  of  Shuncho’s  most  important  prints;  in  fine  condition.  From 

the  Hayashi  and  Wakai  collections. 

(Illustrated,  plate  XIII) 


/ 


sy 


321.  Woman  Reading  a  Letter. 

A  man  looks  in  through  the  window. 
Pillar-print.  Printed  in  purple,  green  and  gray. 


322.  The  Courtesan  Hana-oji.  c  / 

The  Sumida  river  is  seen  through  the  lattice  behind  her. 
y  %  —  Pillar-print.  A  nobly  proportioned  figure  in  flowing  robes;  she  carries  a  fan,  and 

a  smoking-tray  is  at  her  feet. 

323.  A  Young  Man  Parting  from  a  Courtesan;  Interior. 


or* 


Pillar-print. 


324.  A  Young  Girl. 


TOYOKtTNI 

(1789-1825) 


She  is  walking  in  a  garden  and  trailing  a  tassel  before  a  cat. 
Full-size  upright  sheet.  In  good  condition. 


325.  An  Actor  and  a  Courtesan. 

Full-size  upright. 


/r'. 


326.  A  Kneeling  Courtesan  Arranging  Irises  in  a  Vase. 

Full-size  upright. 


327.  Large  Bust  Portrait  of  the  Actor  Matsumoto  Koshiro. 

He  appears  in  the  role  of  Jurobei. 

%  y.  Full-size  upright  sheet,  with  mica  background.  This  is  doubtless  Toyokuni’s 
masterpiece  in  the  field  of  large  actor -portraits.  The  simplicity  of  the  color 
and  the  power  of  the  design  resemble  Sharaku’s  Work. 

( Illustrated .  plate  IV) 


jr 


328.  Two  Women  in  a  Bamboo  Grove. 

They  carry  shoots  which  they  have  pulled  up. 

Full-size  upright;  the  left-hand  sheet  of  Toyokuni’s  most  famous  triptych.  The 
subject  is  a  parody  on  the  legend  of  “The  Seven  Sages  of  the  Bamboo 
Grove.” 


4 


Evening  Session 


329.  Large  Bust  Portrait  of  an  Actor  in  Gorgeous  Robes. 

Full-size  upright.  On  a  delicate  gray  ground.  In  flawless  preservation. 


330.  A  Woman  Crouching  Before  a  Veranda. 

%S7  Snow  falls  around  her.  )V. 


Full-size  upright.  In  fine  condition. 


331.  Half-length  Portrait  of  an  Actor. 

He  appears  as  a  Samurai  with  fan. 


Full-size  upright.  In  flawless  condition. 


o<7 


332.  A  Courtesan  in  Flowing  Robes,  Under  an  Umbrella. 

Pillar-print.  An  early  example  of  this  artist's  work. 


T0Y0HIR0 

( 1773-1828) 


/o. 


A/.AA-u^, 

333.  Two  Women  and  a  Boy  Standing  on  a  Hill. 

Behind  them  are  men  and  boys  engaged  in  kite-flying. 

Full-size  upright ;  the  left-hand  sheet  of  Toyohiro's  most  famous  triptych. 


-7^ 

/ 


334.  Four  Women  in  a  Temple  Courtyard. 


Full-size  upright  sheet ;  one  of  a  triptych. 


6?  O. 


335.  Morning  Glories  Hanging  from  a  Wicker  Vase. 

Full-size  upright  on  a  delicate  gray  background.  In  fine  condition.  A  design  of 
unusual  grace.  7y//'  f  7^./ 

( Illustrated ,  plate  XXVI) 


336.  Groups  of  Women  in  the  Courtyard  of  a  Temple. 

In  the  background,  clouds  and  cryptomeria  trees,  with  a  glimpse  of  the 
/  temple  itself. 

A  diptych  of  two  full-size  upright  sheets ;  being  numbers  three  and  four  of  a 

pentaptych'  t  A^ey. 


Soft  colors.  In  fine  condition. 


77 


337.  A  3Ian  with  Flute  and  Basket  Hat. 

He  stands  beside  a  kneeling  woman. 


Size  8x8.  A  delicate  design. 


/  o. 


338.  The  Courtesan  Hinazura  of  Choji-ya. 

She  is  seated  before  her  black  lacquer  toilet  table. 
Pillar-print.  An  unusual  example  of  the  use  of  blacks. 


T 


Evening  Session 


SHIGEMASA 

(Worked  c.  1764-1790) 


339.  Two  Prints,  each  of  a  Woman  Standing  on  a  Veranda. 

Landscape  background. 

Size  8x6  each.  From  a  book.  In  timeless  preservmion. 


^  340.  A  Ceremonial  Procession. 

<? •  Full-size  horizontal  sheet.  From  an  album. 


/Y.  /. 


^341.  A  Falcon  with  Braided  Cord  on  Its  Perch. 

'  S  Pillar-print.  Shigemasa’s  pillar-prints  are  of  almost  proverbial  scarcity. 


342.  The  Lovers  Sliirai  Gompachi  and  Komurasaki.  a/? . 

Pillar-print.  Unsigned.  This  print  has  sometimes  been  attributed  to  Kitao 
X  Masanobu;  but  a  variety  of  convincing  considerations  make  this  attribution 

the  more  reasonable.  A  beautiful  impression,  perhaps  the  finest  known. 


YEKIGHI 

(Date  c.  1790-1800) 


343. 


A  Woman  Reclining  at  a  Table. 

/*:  She  is  looking  out  through  the  branches  of  a  plum  tree. 

Full-size  horizontal  from  an  album.  In  fine  condition. 


344. 


* 


SHUNMAN 

(1757-1820) 


Two  Women  in  a  Boat. 


The  scene  is  close  to  the  trestles  of  the  Sumida  River  bridge. 

Pillar-print.  All  of  Shunman’s  work  is  rare;  no  other  copy  of  this  print  has 
previously  come  to  notice. 


HIROSHIGE 

(1797-1858) 

(See  notes  preceding  Lot  No.  81  in  the  first  session) 


HIROSHIGE’S  THREE  GREAT  TRIPTYCHS 


345.  Moonlight  View  of  Kanazawa. 


Vertical  triptych ;  seal — dated  1857,  with  seal  of  publisher,  Tsutaya.  .4 
fresh  copy  of  a  print  difficult  to  find  in  this  state. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


Evening  Session 


340.  Kisoji  no  Yama  Kawa. 

Mountains  and  streams  on  the  Kiso  highway.  A  snow  scene.  Vertical 
triptych ;  seal  dated  1857.  Publisher’s  seal,  Tsutaya.  A  slate  blue  is  the 
y  only  color;  a  magnificent  design,  cold  and  mysterious. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige 


(Illustrated,  plate  XX) 


347.  The  Rapids  of  Awa  no  Narnto. 


Vertical  triptych;  seal  dated  1S57;  a  fine  piece  of  printing  in  delicate  color. 
This  is  an  impression  of  great  beauty.  Seal  of  publisher,  Tsutaya. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


(Illustrated,  plate  XX) 


348.  Triptych. 


A  snow  scene.  The  chrysanthemum  seal. 
Artist's  impression.  Good  state. 

Signed:  Hiroshige. 


349.  Triptych. 


A  moonlight  scene.  Three  women  on  a  balcony  overlooking  tlfe  water. 


Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


THE  SNOW  GORGE 


350.  Kakemono-ye 


The  snow  gorge ;  a  magnificent  design,  touched  with  the  grandeur  of  Chinese 
landscape-painting;  a  well  known  subject,  often  reproduced.  Fere  Hiroshige 


/z&. 


reaches  the  supreme  height  of  classical  beauty. 
Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


THE  BOW  MOON 


351.  Ynmi  liari  Tsuki. 


The  Bow  Moon.  A  crescent  moon  behind  cliffs  spanned  by  a  rustic  bridge. 
“ Where  the  torrent  leaps  and  falls 


And  the  hanging  cliffs  look  down, — 
Cloven  gray  and  ruddy  walls 
Each  with  ragged  forest  crown, — 
There  across  the  chasmed  deep 
Spans  a  gossamer  bridge  on  high; 
And  below,  from  gulfs  of  sleep, 

Mounts  the  How  Moon  up  the  ski/." 


- — Arthur  Davison  Ficke. 


A  fine  design,  in  soft  color;  the  most  romantic  of  nil  this  artist’s  creations. 
Artist’s  impression.  Good  state. 

Signed:  Hiroshige. 


(Illustrated,  plate  XXI V) 


Evening1  Session 


MEISHO  YE  DO  HYAKKE1 

One  hundred  views  of  Yedo.  A  part  of  the  set  of  118;  full  size  upright; 
each  print  seal  dated  with  various  dates  between  1850  and  1858.  Publisher,  Uwoya 
Yeikichi.  Although  this  series  is  late  ivorlc  of  the  master,  it  contains  many  of  his  finest 
compositions.  Prints  from  this  set  are  frequently  seen,  hut  rarely  in  the  fine  impres¬ 
sions  here  shown.  The  present  examples  have  been  culled  from  thousands  passing > 
through  my  hands ,  and  I  retain  in  my  possession  many  hundreds  of  inferior  impressions 
which  /  do  not  care  to  offer  as  part  of  my  collection.  'Note  the  absence  of  the  harsh 
colors  usually  found  in  this  set.  The  numbers  are  as  given  by  Mr.  II upper. 


352 


IIori-Kiri  (No.  56). 

View  of  the  Iris  garden  seen  through  great  blooms  in  the  foreground;  seal 
dated  1857,  1st  month.  A  very  decorative  design;  the  green  is  rich  and 
brilliant. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


353.  The  Same. 

A  softer  printing. 

Artist’s  impression.  Collector’ s 
Signed:  Hiroshige. 


state. 


354.  Kameido  Tenjin  (No.  57). 


Wistaria  blooms  hanging  in  the  foreground  over  the  pond,  and  the  Drum 
bridge  behind  them ;  seal  dated  1856,  7th  month.  A  well  known  print. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


355.  The  Same. 

-  Good  impression.  Collector's  state. 


Signed : 


Hiroshige. 


S/ 


*r 


356. 


Mama  no  Momiji,  Tekona  no  Yashiro  (No.  94). 


Maples  of  Mama,  Tekona  temple;  view  through  the  overhanging  bough  of  a 
maple  tree  over  the  Swamp  Mama  no  Iriye  and  the  plain  of  Yedo.  In  the 
swamp,  a  beautiful  maiden  called  Mama  no  Tekona  committed  suicide; 
seal  dated  1857.  1st  month.  A  striking  design  in  soft  colors. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


357.  Kamata,  IT  me  Yashiki  (No.  27). 


“The  Plum  Garden  at  Kamata,”  the  trees  with  white  blossoms  against  a 
pink  sky,  and  an  empty  Kago  at  the  right  hand  waiting  for  a  visitor.  Seal 
dated  1857.  2nd  month. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Evening  Session 


358. 


Ayase-gawa  Ivane-ga-fuchi  (No.  69). 

A  man  on  a  raft  between  tall  reeds, 


'Z 


42 


“The  Pool  of  the  Bell.  Ayasa  River.' 
and  a  great  branch  of  the  Oelio  tree  in  blossom  across  the  top. 
1857,  Ttli  month. 

Fine  impression.  Collector’s  State. 

Signed:  Hiroshige. 


Seal  dated 


359. 


Sendagi,  Dangosake  Hana  (No.  16). 


“Cherry  Gardens  at  Dangosake,”  with  people  sitting  under  the  blossoming 
trees  by  the  side  of  water ;  in  the  background,  two  tea-houses  joined  by  a 
bridge  overlooking  the  scene;  seal  dated  1857,  12th  month.  Another  copy  of 
this  print  in  blue  on  surimouo  paper  is  shown  at  No.  597  of  this  sale. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


360.  Yatsumi  no  Haslii  (No.  62). 


“The  Bridge  from  Which  Eight  Bridges  May  be  Seen.”  Only  the  rail  of 
the  bridge  in  the  left-hand  corner,  a  great  willow  tree  hanging  over  the 
right ;  swallows  flying,  and  Fuji  in  the  distance ;  seal  dated  1856,  8th  month. 
A  striking  design. 

Artist’s  impression.  Collector’ s  state. 

Signed:  Hiroshige. 


361.  Nippori,  Suwa  no  dai  (No.  15). 

Two  tall  pine  trees  at  the  edge  of  a  hill  on  which  people  are  sitting  on  low 

#  ° 

0)  —  tables  looking  at  the  cherry-blossoms  and  the  stretch  of  green  fields.  Seal 

1857,  1st  month.  Rich  in  color. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


362.  Sumidagawa,  Snijin  no  Mori  (No.  35). 


“The  Woods  of  Suijin,  Sumida  River.”  The  trunk  of  a  cherry-tree  with 
great  clusters  of  blossom  crossing  the  scene,  two  sailing  boats  on  the  river, 
0'  and  Mount  Tsukuba  in  the  distance.  Seal  dated  1857,  8th  month.  A  well 

known  print  of  fine  design. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


363.  The  Same. 


/0. 


A  stronger  printing.  Seal  dated  1857,  8th  month. 
Good  impression .  Collector’s  state. 

Signed:  Hiroshige. 


a,,  ed. 


Evening  Session 


*7 


364.  Ukiji,  Akiba  no  Keiilai  (No.  91).  Tf /V.  ^  / 

“In  the  Garden  of  Akiba  (Temple)  Ukiji.”  In  the  left  foreground  an  old 
priest  seated  in  a  booth,  and  a  woman  and  girl  standing  looking  at  the 
lake  and  the  shadows  of  the  trees  on  the  water.  Seal  dated  1857,  8th 
month. 

The  three  impressions  here  shown  are  an  excellent  example  of  the  different  color 
experiments  attempted.  Hiroshige's  grandson  states  that  this  is  one  of  the 
few  prints  containing  a  portrait  of  the  great  artist.  The  yuan  sketching 
in  the  balcony  of  the  tea-house  is  supposed  to  be  Hiroshige. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXIII) 


SB 


365.  The  Same. 

A  different  printing.  Seal  dated  1857,  Sth  month. 
g  Good  impression.  Collector’s  state. 

Signed :  Hiroshige. 


Jc,  3. 


7 


366.  The  Same  . 

A  different  printing.  A  brilliant  print.  Seal  dated  1857,  Sth  month. 


Fine  impression.  Publishers  state. 
Signed:  Hiroshige. 


367.  Shinagawa,  Gotenyama  (No.  28). 

The  cherries  in  blossom  on  the  top  of  a  hill  reachetf  by  a  path  up  a  yello" 
cliff;  two  people  crossing  a  narrow  brook  on  a  plank  bridge  in  the  fore 
ground.  Seal  dated  1856,  4tli  month. 

Artist's  impression.  Collector' s  state. 

Signed:  Hiroshige. 


368. 


th.  f 


y? 


The  Same. 

The  cliff  is  printed  a  slate  color.  Seal  dated  1856,  4th  month. 
^  ^  Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


369.  Minowa,  Kanasugi  Mikawajima  (No.  102). 

A  crane  flying  down  to  its  mate  standing  in  a  stream  beside  rice  fields, 
where  a  solitary  peasant  is  walking  with  his  load.  A  bold  design.  Seal 
^  —  dated  1857,  5th  month. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Jc.  x) ■ 


370.  Sakai  no  Watashi  (No.  58). 

“Sakai  Ferry,”  seen  some  little  distance  up  the  stream  in  front  of  the  vil¬ 
lage;  in  the  foreground,  three  white  egrets  wading,  and  two  others  flying 
over  the  water.  Seal  dated  1857.  2nd  month. 

Artist's  impression.  Collector's  state, 
signed:  Hiroshige. 


Evening  Session 


371.  Tsukinla-jima  at  the  Festival  of  the  Smniyoshi  Temple 
(No.  50).  ^ 

A  great  white  flag  in  (lie  center  with  black  characters  and  dated  Ansei  4 — 
1857,  and  a  Shinto  procession  passing  through  a  reedy  piece  of  marsh  land. 
Seal  dated  1857,  7tli  month. 

Artist's  impression.  Collector' s  state. 

Signed:  Hiroshige. 


*72. 


A  4 


Kanda  Koyainaclii,  “Dyer’s  Street,  Kanda”  (No. 


75). 


A  quantity  of  blue  and  white  strips  of  material  hanging  from  wooden  staging. 
Seal  dated  1857,  lltli  month. 

Artist's  impression.  Collector's  stute. 


S  ign  etl :  Hiroshige. 


373.  Sliiba  lira,  Kanasngi  baslii  (No.  80). 

A  holiday  crowd  at  the  Fete  of  Nichiren,  on  Oct.  13th,  pressing  over  the 
Kanasngi  bridge  at  Sliiba  bay,  carrying  towels  for  the  temple  stamped  with 
Nichiren’ s  crest,  attached  to  cross  sticks  on  long  bamboos,  and  a  great  red 
banner  with  Nicliiren's  spell  attached  to  an  open  umbrella.  Seal  dated 
1857,  7tli  month. 

Cine  impression.  Collector's  state. 

S  igned :  H  iroshige. 

374.  Masaki  no  liotori  yori  Snijin  no  Mori  (No.  36).  / 

I  chikawa,  Sekiya  no  Sato,  “Masaki,  from  whence  may  be  seen  the  woods 
of  Suijin,  the  Fclii  river,  and  the  village  of  Sekiya.”  View  through  an  open 
circular  window  with  the  Shoji  pushed  over  to  the  right  side.  Seal  dated 
1857.  Stli  month.  A  very  striking  design. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXII) 


r>  w  r* 

3  < .». 


Uyeno  Sannai  Tsuki  no  niatsn  (No 


.  89).  /V. 


“The  Moon  Fine,  Uyeno,  with  its  branch  twisted  into  a  circle  right  across 
the  sheet,  the  Shinabazu  pond,  and  part  of  the  peninsula  with  the  shrine 
of  Benten  on  the  right.”  Seal  dated  1857,  8th  month. 

Fine  impression.  Collector's  state. 


Signed:  Hiroshige. 


376. 


Aznina  bashi,  Kinryusan  okata  bata  (No. 


90). 


The  head  of  a  covered  boat  lies  in  the  Asakusa  river  right  across  the  fore¬ 
ground,  in  which  part  of  the  figure  of  a  girl  is  seen  under  the  roof  on  the 
left;  beyond  are  the  buildings  of  the  temple  and  the  five  storied  pagoda. 
Seal  dated  1857,  8tli  month.  Beautiful  gradation  of  blue  from  top  and 
bottom. 

Artist's  impression.  Collector's  state. 

S  igned :  II  iroshige. 


Evening  Session 


377.  Hatsune  no  baba,  Bakuro  clio  (No.  0). 

“The  first  racecourse,  horse-dealer’s  street,’’  with  strips  of  material  hung 
out  to  dry  between  the  willow  trees,  and  fire  tower  in  the  background. 

/ Seal  dated  1857,  9th  month. 

Very  rich  in  color. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


378.  The  Same. 

A  different  color  treatment. 
Fine  impression.  Collector's  state. 
Signed :  H  iroshige. 


Seal  dated  1857,  9th  month. 


379.  Asakusa  tampo,  Tori  no  machi  (No.  101).  ,  As  <c  S' 

“Festival  of  the  Cock,  Asakusa  rice  fields.”  A  white  cat  seated  in  the 
barred  window  of  a  house  watching  the  festival  procession  held  on  the 
3  O.  “days  of  the  cock”  winding  its  way  towards  the  Asakusa  temple.  Seal  dated 

1857,  lltli  month.  A  remarkably  fine  impression  of  a  famous  print. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 


y  £-° 


380.  Suido  bashi,  Surugadai  (No.  63). 

“Surugadai  from  Suido  Bridge,”  on  the  5th  of  May,  the  Boy’s  Birthday  fes¬ 
tival,  with  carp-shaped  balloons  flying  in  the  air.  Seal  dated  1857,  5th 
month.  Rarely  seen  in  this  fine  printing. 

Artist's  impression.  Collector's  state. 

Signed :  H  iroshige. 


V 


7 


381.  Fuka-gawa,  Mannen  bashi  (No.  51). 

View  through  part  of  the  Mannen  bridge  from  which  a  great*  turtle  is  sus- 
•SLF  pended  by  a  rope,  Fuji  in  the  distance.  Seal  dated  1857,  11th  month. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

382.  Fukagawa,  Susaki,  Jimian  Tsubo  (No.  107).  3. 


32 


“The  Juman  Plain,  Susaki,  Fukagawa.”  Snow-scene  with  an  eagle  poised 
in  the  air  looking  at  a  floating  tub  on  the  sea  near  Susaki,  in  Yedo  bay,  and 
Mount  Tsukuba  in  the  distance.  Seal  dated  1857,  5tli  month.  An  unusually 
fine  impression  of  a  strong,  bold  design.  One  of  Hiroshige's  best  known 
prints.  Note  the  lacquer  used  on  the  claws  and  beak  of  the  bird. 

Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXII) 


383. 


/O. 


Yoshiwara,  Nihon  Tsutsnmi  (No.  100).  ?fc, 

“The  Nihon  Embankment,  Yoshi-wara.”  View  of  the  long  road  leading  from 
Yedo  to  the  Yoshiwara,  with  a  lot  of  yellow  booths,  and  wild  geese  flying 
across  the  moon.  A  fine  design.  Seal  dated  1857,  4th  month. 

Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


Evening  Session 


384.  Omi,  Shozoku  Eno-ki  Omisoka  kitsunobi  (No.  118). 

“Fox-lights  on  New  Year’s  Eve  under  the  Eno  trees  (Celtis  willdenowiana y 
at  Oji.”  Night  scene  with  stars  in  the  sky  and  foxes  assembling.  One  of 
the  fluent  and  hast  known  designs  ever  made  by  Hiroshige.  Seal  dated  1S57. 
9th  month. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXI 1 1 ) 


385.  The  Same. 


\  G .  <  .1 ,  ’X  X/. 


X  3. 


A  lighter  printing.  Seal  dated  1S57,  9th  month. 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


386. 


Matsuchiyama,  Yoru  no  Kel  (No.  34). 


3*. 


“Night  View,  MatsucMyama.”  A  Geisha  going  home  from  an  engagement 
following  a  circular  lantern,  which  lights  her  along  the  bank  of  the  Sanya 
bori ;  on  the  far  side  lighted  houses  and  stars  in  the  sky.  Seal  dated  1857. 
4th  month.  I  nusually  fine  in  printing,  showing  the  grain  of  the  block. 
Artist's  impression.  Collector' s  state. 

Signed:  Hiroshige. 


(Illustrated,  plate  XXII I) 


387.  Eitai  Baslii,  Tsukiulajima  (No.  4). 


View  through  the  arch  of  Eitai  bridge  on  a  moonlit  night,  and  of  the  point 
of  a  boat  with  two  fishing  flares.  Seal  dated  1857,  2nd  month. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


388. 


Asakusa-gawa, 

54). 


Shiibi  no  Matsu,  Omnia  ya  Gaslii  (No. 

/.  '  '/ 


“Horse-ford,  Pine-tree  of  Shubi,  Asakusa  river.”  Night  scene  with  stars  in 
the  sky,  a  covered  boat  under  a  pine-tree,  and  the  shadow  of  a  woman  on 
the  green  blind.  Seal  dated  1850,  Stli  month. 

Fine  impression.  Collector' s  state. 

Signed:  Hiroshige. 


389.  Yoshiwara  Yo-aka  (No.  38). 


“Daybreak,  Yoshiwara.”  The  Great  Gate  with  hooded  revelers  coming 
along  the  street  outward.  Seal  dated  1S57,  4th  month. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


390.  Ryogoku,  Hanabi,  “Fireworks,  Ryogoku”  (No.  98). 

A  rocket  and  stars  in  the  darkened  sky  bursting  over  the  bridge.  Seal 
dated  1858,  8tli  month.  A  monochrome  in  fine  soft  grays  and  blues. 

'€Lr  Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Evening  Session 


<7?  J  . 

391.  Ommaya  Gaslii,  “The  Onimaya  Embankment”  (No.  105). 

Two  women  crossing  the  Sumida  river  at  Asakusa,  in  a  ferry-boat,  standing 
in  the  bow  of  the  boat  looking  towards  the  willow  am  other  trees  growing 
out  of  a  hill  on  the  right.  Seal  dated  1S57,  12tli  month.  Collectors  differ 
^  in  their  opinions  of  this  print.  All  concede  that  in  the  usual  pale  printing 

it  is  a  weak  and  uninteresting  design;  hut  in  this  strong  printing  all  agree 
that  it  is  interesting  at  least;  while  others,  including  Mr.  Ficlce,  regard  it  as 
one  of  Hiroshige's  great  triumphs.  It  is  rarely  seen  in  this  printing. 
Artist's  impression.  Publisher' s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXII) 


392. 


Tora  no  moil,  Soto  Aoizaka  (No.  113). 


4  . 


“The  hilly  road  outside  the  Tiger  gate.”  Night  scene  with  crescent  moon 
above  a  weir,  an  almost  naked  man  and  boy  with  lanterns,  an  insect  seller 
carrying  his  stall  of  cages,  and  other  passengers  going  up  the  road.  This 
and  the  two  following  prints  show  the  different  cuttings  of  the  blocks  which 
for  various  reasons  (such  as  warping  of  the  wood-block)  became  necessary. 
Xote  the  different  size  and  position  of  the  moon  in  each  plate.  Seal  dated 
1857,  1st  month. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


393.  The  Same. 


/V. 


/z  ** 


A  variation  of  the  preceding.  Seal  dated  1857,  1st  month. 
Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


394.  The  Same. 


Another  variation  of  No.  392. 
Good  impression.  Collector's  state. 
Signed:  Hiroshige. 


Seal  dated  1857 


857,  1st  month.  ‘ 


395. 


Saruwaka  olio,  Yoru  Shibai,  “Theatres  by  Night”  (No. 
90). 


zz 


“Young  Monkey  Street.”  View  of  the  street  in  the  Asakusa  quarter  with 
S*  the  full  moon  shining  right  above,  and  shadows  of  the  pedestrians  thrown 
on  the  roadway.  Seal  dated  1856,  9th  month.  A  brilliant  copy  of  a  print 
famous  for  its  shadows,  a  feature  rarely  shown  in  a  Japanese  design. 
Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


yrJ’ 


396.  The  Same. 

A  later  variation  of  the  preceding  print ;  the  moon  nearer 
plate.  Seal  dated  1S56.  9tli  month. 

Fine  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


i. «. 


he  top  of  the 


Evening  Session 


7c 


7 


397.  Nihon  Baslii,  Ynki  hare  (No.  1).  /??<*' i~* 

A  snow  scene.  “Clear  weather  after  snow,  Nihon  bridge^/  with  red  figures 
rowing  three  boats  up  the  stream.  Seal  dated  1850,  5th  month. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


398. 


Kanda  Myogin,  Yushima  Tenjin  Saina  (No. 


/ef 


Snow  scene  from  the  height  of  Yushima  at  the  top  of  the  steps  to  the 
temple  where  a  woman,  with  an  umbrella  shut,  stands  admiring  the  view 
over  the  tops  of  the  houses  around  Hirokoji,  and  the  Shinobazu  Pond  with 
the  Shrine  of  Benten  in  the  distance.  Seal  dated  1850,  4th  month. 

Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


/o. 


399.  Meguro,  Taiko  liaslii,  Ynki  no  oka  (No.  Ill) 

“Hill  of  Snow,  Drum  Bridge,  Meguro.”  Snow  scene,  view  of  the  bridge  over 
the  Furu  river,  and  people  crossing  towards  the  high  hill  on  the  left  and 
the  temple  of  Yakuslii  Niorai.  Seal  dated  1857,  2nd  month.  Note  the  grain 
of  the  block  and  delicate  gray  on  the  hillside. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


400. 


Asaknsa,  Kinryusan  (No.  99). 


Snow  scene  viewed  through  the  Nio  Mon  under  which  a  great  circular  lan¬ 
tern  is  suspended.  Seal  dated  1850,  7th  month. 

A  daring  composition  in  soft  colors. 

Artist's  impression.  Collector's  state. 


Signed:  Hiroshige. 


7 


401.  Fukagawa,  Ki-ba  (No.  100). 

“Wood  Place,  Fukagawa.”  Snow  scene  on  one  of  the  canals  in  the  district 
between  the  temples  of  Hacliiman  and  Benten  where  timber  is  stacked ;  in 
the  foreground  two  puppies  and  the  top  of  a  yellow  umbrella.  Seal  dated 
4?  1850,  8th  month.  In  this  print  one  usually  finds  a  streak  of  harsh  blue 

in  the  center  of  the  stream  and  yellow  umbrella  too  strong  in  color.  This 
copy  is  free  from  these  defects. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


402.  Atagoshita  Yabu  Koji  (No.  112). 


The  name  of  a  side  street  by  a  canal  at  Atagoshite  in  the  Shiba  district; 
snow  scene  with  bamboos  on  one  side  of  the  water  and  sparrows  flying  over¬ 
head ;  the  sky  a  fine  delicate  blue.  Seal  dated  1S57,  12th  month. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


(Illustrated,  plate  XXI It) 


Evening’  Session 


O 


403.  The  Same. 

In  a  stronger  printing. 

*£2  Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


'  (7 


404. 


Imado,  Hashiba  no  Watashi  (No.  37). 


Hashiba  Ferry  at  Imado.  Famed  for  its  pottery;  a  great  column  of  smoke 
drifting  across  the  Sumida  river.  Seal  dated  1857,  4tli  month.  The  water 
is  exquisitcl//  printed,  shading  to  a  delicate  bine  hill  in  the  distance. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


7 


405.  Sliiba  no  ura  ltei  (No.  408).  f 

“View  of  Shiba  Bay.”  A  flight  of  sea-gulls  over  pine-trees  on 
bank.  Seal  dated  1858,  2nd  month. 

Artist’s  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


e  walled-up 


400.  O  Hashi  no  Yudachi  (No.  52). 

“Storin  on  the  Great  Bridge.”  A  pelting  rain  obscuring  the  far  bank  of  the 
Sumida  river,  on  which  one  raft  is  seen.  One  of  the  great  designs  of  the 
series.  Nothing  left  to  be  desired  in  the  printing. 

Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXII) 


7 


407. 


72T 


Minami  Fukagawa,  Saniezn  gislii  (No.  109). 

“Samezu  Embankment  in  the  Minami  Fukagawa  district.”  Row  boats  with 
men  fishing  among  the  reeds  which  here  fringe  the  Yedo  bay ;  Mount 
Tsukuba  in  the  distance.  Seal  dated  1857,  2nd  month. 

A  fine  rendering  of  the  low,  marshy  stretches  greatly  loved  by  the  Japanese. 
A  rare  copy. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


408.  Ryogokn  Kara  Asakusa  en  Ivei  (No.  53).  /K 

“View  of  Asakusa  from  Ryogoku.”  The  heads  of  people  seen,  crossing  the 
bridge,  carrying  a  great  Shinto  emblem  at  the  left  corner,  and  a  similar 
emblem  on  a  boat  filled  with  people  crossing  the  river.  Seal  dated  1S57, 
7th  month. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


409. 


Sekiguclii,  I>aslio  An  (No.  40).  XL 

The  House  of  Baslio  (the  poet)  at  Sekuguchi,  on  a  hillside  to  the  right,  with 
pine  and  cherry  trees  by  the  roofed  porch  at  the  bottom  of  the  garden 
steps,  and  a  winding  stream  in  front.  Seal  dated  1S57,  4th  month. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Evening  Session 

410.  View  of  the  Kiribata  Trees  at  Akasaka. 

This  plate  is  not  in  the  original  volume  of  complete  118  views,  nor  is  it 
listed  in  the  contents  plate;  in  later  editions  it  is  included;  signed  Hiro- 
^  shige  2d,  seal  date  Ram  6,  1859.  This  is  one  of  the  best  prints  known 

with  the  second  Hiroshige’s  signature ;  a  very  sharp  impression  in  perfect 
condition. 

Fine  impression.  Publisher’s  state. 

Signed :  Hiroshige. 


411.  Konagi-gawa,  Go  hon  Matsu  (No.  97). 


“The  five-branch  pine,  Konagi  river.”  A  great  branch  of  pine  supported 
on  poles,  overhanging  a  canal  in  which  a  party  of  pleasure-seekers  are 
passing  along  in  a  boat.  Seal  dated  1856,  7th  month. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


412. 


Konodai,  Tonegawa;  Konadai  (No.  95). 


The  bluff  on  the  left  bank  of  the  Tone  river  which  commands  a  good  view 
of  the  river  with  its  sailing-barges,  the  plain  of  Yedo,  and  Fuji  in  the  dis¬ 
tance.  Seal  dated  1856,  5th  month. 

The  fine  gradation  of  blue  from  top  and  bottom  makes  this  a  rare  impression. 

The  oxidization  of  the  trees  adds  to  its  beauty. 

Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


413.  Meguro,  Choi  ga  Ike  (No.  23). 

View  of  the  pond  and  a  cascade  of  five  leaps  adjoining  "the  temple  of  Fudo; 
•£_&  the  cherry  trees  reflected  in  the  water.  Seal  dated  1856,  7th  month.  A 

remarkable  impression  in  yellowish  green. 

Artist’s  impression.  Collector' s  state. 

Signed:  Hiroshige. 


/X 


414.  Asukayama  (No.  17). 


People  sitting  on  red  mats  on  the  hilltop  looking  over  the  plain  of  Hitachi 
to  the  double-peaked  Mount  Tsukuba.  Seal  dated  1857.  2nd  month.  Rarely 
seen  in  this  beautiful  state. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


?fr  a  ^4 


415.  Ki  no  Kuni  zaka,  Akasaka  Tame  ike  (No.  8o). 


"Irrigation  Pond,  Akasaka.”  The  head  of  a  Daimyo’s  procession  coming 
along  the  high  bank,  in  single  file,  and  a  group  of  houses  in  a  hollow 
£*  beyond  the  pond.  Seal  dated  1S57,  9th  month. 

/  Artist's  impression.  Publisher' s  state. 

Signed:  Hiroshige. 


Evening  Session 


416. 


Tamagawa,  Dote  no  Hana  (No.  42). 


“The  Cherry  Embankment,  Tama  River.”  A  row  of  blossoming  trees  fol¬ 
lowing  the  winding  of  a  dyke,  with  a  tea-house  on  the  right  behind  fencing. 
Seal  dated  1856,  2nd  month.  A  rare  impression.  The  water  is  usually  so 
over-printed  as  to  spoil  the  picture. 

A?-tist’s  impression.  Publisher's  state. 

Signed :  Hiroshige. 


417.  Snna-mnra,  Moto  Ilachiman  (No.  29).  ^  *  « 

“The  Original  Hachiman  Temple  at  Suna  mura.”  Only  the  Torii  is  seen, 
near  cherry  trees  in  the  foregound,  beside  a  path  leading  out  to  a  reedy 
marsh  and  the  sea  beyond.  Seal  dated  1856,  4tli  month.  A  print  of  great 
V  beauty. 

Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


418. 


I-no-Kasliira  no  Ike  Benten  (No.  87). 


“The  Pond  (a  lake)  at  1-no-Kasliira,”  with  a  shrine  of  Benten  on  a  little 
island  on  the  left,  and  live  herons  flying.  Seal  dated  1856,  4tli  month. 


Artist's  impression.  Collector’s  state. 


Signed:  Hiroshige. 


419.  Meguro,  Shin  Fuji,  “New  Fuji  Meguro’’  (No.  24). 

An  artificial  mound  with  a  zig-zag  path  to  its  flat  top,  on  which  people  are 
viewing  a  mountain  in  the  distance.  Seal  dated  1857,  4th  month. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


420.  Shohei  baslii,  Kanda-Rawa  (No.  46). 


“The  Kanda  river  from  Shohei  bridge,”  only  the  railings  of  which  show.  The 
bridge  crosses  the  river  beside  a  high  green  bank ;  on  the  further  side  a 
road  up-hill  leads  to  the  Confucian  Temple  Seido,  with  its  scattered  build¬ 
ings,  in  a  shower  of  rain.  Seal  dated  1857,  9tli  month. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


421  Meguro,  Jiji  ga  Chaya  (No.  84) 

“The  Old  Man’s  Tea-house  Meguro.”  A  little  b6oth  and  thatched  hut  seen 
by  the  path  through  a  break  in  the  hills;  in  the  foreground  a  wide  plain 
with  a  solitary  man  leading  a  horse,  and  Fuji  far  away.  Seal  dated  1857. 
4th  month. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


422.  Go-hyaku  Rakan,  Sazaido  (No.  70). 

“The  Hall  of  the  Five-Hundred  Rakan  at  Sazaido.”  A  corner  of  the  temple 


on  the  right  with  five  people  on  the  balcony  looking  over  the  flat  rice  fields. 
Seal  dated  1857,  Sth  month. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Evening  Session 


423.  Koume  no  dote  (No.  104). 


7 


7TJ 


“The  Koume  Dyke.”  Two  women  crossing  a  Dobashi  m  the  foreground,  and 
two  children  playing  with  puppies  under  some  tall  trees ;  on  the  left  of  the 
dyke  a  long  stretch  of  yellow  rice-fields.  Seal  dated  1857.  2nd  month. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


424.  Nihon  baslii,  Itclioine  (No.  44).  7' 


Street,  scene  outside  Shiroki-ya,  the  silk  mercers.  In 
of  five  people  going  along  under  one  great  umbrella, 
playing  a  Samisen.  Seal  dated  1S5S,  8th  month. 

Fine  impression.  Collector’s  state. 

Signed :  Hiroshige. 


•t 

the  center  a  group 
followed  by  a  girl 


425.  Uyeno,  Hirokoji  (No.  13).  "  * 


A  procession  of  Geisha  under  red  umbrellas  with  white  centres,  going  up 
the  street  past  the  shop  of  the  silk  mercer,  Matsuzaka-ya.  Seal  dated  1856, 
9th  month.  Rare  in  this  printing. 

Artist’s  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


y 


426.  Surnga  clio  (No.  8).  4  *  4 

A  street  scene  looking  straight  down  towards  Fuji,  in  the  l 
Suruga,  between  the  great  establishments  of  Mitsui,  the  draper. 
tinted  mist  strikes  across  the  roofs.  Seal  dated  1S56,  9tli  month. 
Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


trovinee  of 
A  brightly 


/2  €o 


ar 


427.  Sliiba,  Atago  jama  Bishamon  no  tsukai  (No.  21). 

“A  Messenger  to  Bishamon,  Atago  Hill,  Shiba.”  A  man  in  fanciful  costume, 
with  fern  leaves  around  his  hat  and  a  great  rice  ladle  in  his  hand,  arriving 
at  the  top  of  the  “male  steps”  to  the  temple;  white  sails  on  the  sea  in  the 
distance.  On  the  board  at  the  left-hand  top  corner  is  the  date,  Ansei  4 — 
1857.  Seal  dated  1857,  2nd  month.  Rare  in  this  printing. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 

Takanawa,  Uslii  Machi  (No.  8).  ^ 

“Ox  Street,  Takanawa.”  A  rainbow  in  the  sky,  its  colors  duplicated  in 
slices  of  melon  lying  beside  an  empty  cart.  Seal  dated  1857,  4th  month. 
Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


428. 


429.  Oji,  Inari  no  Jinja  (No.  18).  £ 

A  corner  of  the  temple  on  the  right,  looking  out  towards  Mount  Tsukuba  ; 
people  coming  up  the  steps  and  path  towards  it.  Seal  dated  1857,  9th 
month. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


-A 


Evening  Session 


Zo. 


/£>. 


430.  Kawaguchi  no  Watashi  (No.  20). 

“The  Ferry  at  Kawaguchi,”  near  the  Zenkoji  temple;  the  bdat  crossing  and 
six  rafts  floating  down  the  stream.  Seal  dated  1857,  2nd  month.  Rarely 
seen  without  a  disfiguring  streak  of  blue  in  the  water. 

Fine  impression.  Collector's  state. 

Sign  ed :  Hiroshige. 

- 

431.  Kojimachi  Itchome,  Sanno  Matsuri  Neri  Komi  (No.  05) 

“The  Sanno  Festival  Going  through  Kojimachi  Itchome”  on  the  15th  day 
of  August ;  in  the  foreground  the  Hanagasa  or  flower  hats  of  the  people 
in  the  procession  are  seen  going  around  a  lake  with  a  great  Shinto  emblem, 
surmounted  by  a  white  cock  on  a  drum  above  a  purple  sheet;  and  similar 
figures  wend  their  way  along  the  further  side  of  the  pond.  Seal  dated  1S56, 
7th  month. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


432.  Horiye  Nekozane  (No.  96).  ‘ 

Fuji  rising  white  beyond  the  O-yame  range,  cut  with  pink  mists;  and  a 
cluster  of  orange  and  yellow  roofed  houses  around  a  narrow  central  stream 
/ running  out  to  the  sea. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


7 


433.  Senji,  ()  Hashi  (No.  103).  ^  ^ 

“The  Long  Bridge”  over  the  Senji  river,  with  a  man  on  horseback  and  a 
&  j  woman  in  a  kago  crossing  :  three  white  sails.  Seal  dated  1856,  2nd  month. 

Fine  impression.  Publisher's  state. 

Signed:  Hiroshige. 


434.  Title  Page  of  the  Set. 

List  of  plates  arranged  in  the  four  seasons. 
Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


135. 


Marvelously  bUm  water  in  the  fore- 


7 


Vertical  Lake  Biwa  Series. 

Conventional  clouds  at  top  of  print, 
ground,  green  hills  running  down  to  the  water’s  edge  and  gray  hills  in 
background. 

Artist's  impression .  Collector’s  state. 

Signed:  Hiroshige. 


436.  Full  Size  Vertical  Tokaido  Set. 


v: 


The  picture  covers  the  lower  part  of  plate.  Wtonan  ascending  from  the 
water  in  a  cloud  of  smoke.  Fuji  in  the  distance. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


Evening  Session 


7 


437. 

jTJ' 


Sliislii  and  Cub. 

A  rare  print. 

Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


438.  Full  Size  Vertical  Print. 

A  poem  in  upper  right  corner.  A  snow  scene,  a  single  boat  on  a  stream 
"J  running  between  snowy  wooded  banks. 

/  Artist's  impression.  Collector's  state. 

Signed:  Ilirosliige. 


XT 


439.  A  Snow  Scene. 

Done  in  collaboration  with  Ivunisada  and  signed  by  both.  Man  and  two 
women  in  a  boat  crossing  a  stream  in  a  snow  storm.  Exceedingly  decorative 
design. 

Fine  impression.  Collector's  state. 


440.  Evening  Rain,  Gion  Temple  Wood. 


//  — 


Right  sheet  of  a  triptych ;  full  size,  upright 
Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


>7>r 


YEDO  MEISHO 

Thirty-seven  full  size  horizontal  prints,  from  several  sets,  showing  various  views 
of  Yedo. 


441.  Nilion  baslii. 


A  rain  scene ;  the  bridge  in  the  foreground ;  Fuji  in  the  distance. 
Fine  impression.  Ordinary  state. 

Signed:  Hiroshige. 


TF.x/. 


7 


442.  Gotenyania. 

Parties  of  picknickers  on  the  shore  of  the  bay.  Fine  color. 
3"^  Fine  impression.  Publisher' s  state. 


Signed:  Hiroshige. 


7 


443.  Asukayama. 

Road  leading  to  a  village  by  the  water;  three  sails  in  the  middle  distance; 
S'*  very  rich  in  color. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


J 


444.  Zojioji  Temple.  f 

Women  entering  the  temple  between  two  la^ge  pink  columns. 
Fine  impression.  Publisher’ s  state. 

Signed:  Flirosliige. 


Evening  Session 


445.  A  Temple. 


Steps  leading  to  a  temple;  trees  on  each  side;  a  pool  of  water  in  the  lower 
left-hand  corner;  a  line  design,  full  of  mystery. 

Fine  impression.  Good  state. 

Signed:  Hiroshige. 


446.  Asakusa  Kinruysan  Temple. 


Only  the  heads  of.  people  in  a  crowded  street  are  seen:  an  effective  compo¬ 
sition. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 


* 


tro 


447.  Yoshiwara. 

Cherry  blossoms  at  night;  a  moonlight  scene;  a  print  of  great  beauty  in  this 
impression  and  state;  the  grays  are  usually  overprinted. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 


Sliiba  Atago  San. 


448. 

A  rainbow  crosses  the  print  near  the  center 
in  brilliant  state. 

Good  impression.  Collector’ s  state 
Signed :  Hiroshige. 


fat,. 

Two  sails  in  tl1 


distance ; 


449.  Kameido  Temple  Grounds  in  Snow. 


Two  drum  bridges,  water,  and  a  grove  of  trees  beyond. 

A  print  of  rare  quality  and  great  beauty;  one  of  the  gems  of  the  collection. 
Artist’s  impression.  Collector’s  state. 

Signed :  Hiroshige. 


^  <y. 


450.  Asakusa  Temple  in  Snow. 

Crowds  entering  the  temple  in  a  snow-storm 
A  comparatively  few  impressions  as  fine  as  this 
been  brought  to  light. 

Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


I 


/ 


with  umbrellas  raise 
and  the  preceding  print  have 


451.  Masaki  settsu  jo. 

A  snow  scene.  Two  men  polling  a  raft  and  boat  in  foreground;  two  Torii 
in  the  distance. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


452.  Go  Hyakkei  Raken  Sazaido. 


The  temple  of  the  Five  Hundred  Raken.  surrounded  by  trees  at  the  end  of 
a  zig-zag  path  through  rice-fields.  Rich  in  color. 

Artist’s  impression.  Publisher's  state. 

Signed :  Hiroshige. 


(Illustrated,  plate  XYIII) 


Evening  Session 


453.  Asuka  Yama. 


View  of  the  hillside  covered  with  cherry  trees  in  blossom ;  a  procession  and 
two  horsemen  in  foreground. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


sC 


jr 


454.  Kanda  Myoji. 

A  Shinto  shrine.  The  torii  never  marked  the  approach  to  a  Buddhist 
temple. 

Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


3. 


455.  Atago  Yama.  A 

The  sea  is  seen  through  a  covered  way  at  the  head  of  a  flight  of  stairs. 
Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


456.  Yanagi  Shima. 

A  Buddhist  temple. 

Good  impression.  Collector's  state. 
Signed:  Hiroshige. 


A 


457.  Kasumyga  se  kei. 

The  name  of  a  street ;  kites  flying  and  sails  in  the  distance ;  a  fine  design 
in  good  color. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


458.  Sano  Temple. 


A  torii  in  the  foreground.  Figures  aivproaching  the  temple  from  a  distant 
village  by  the  sea. 

Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


459.  Uyeno  Toyozan. 

Buddhist  temple. 

<5~  Good  impression.  Collector's  state. 
Signed :  Hiroshige. 


460.  Ny  po  ri. 


3 


A  suburb  of  Yedo. 

Good  impression.  Collector's  state. 
Signed:  Hiroshige. 


Evening  Session 


461.  Susaki  Ben  ten. 

A  Shinto  shrine. 

3  Fine  impression.  Collector' s  state. 

Signed:  Hiroshige. 


462.  Uyeno,  Sliinobazu  Pond. 

Fine  impression.  Collector' s  state. 
Signed:  Hiroshige. 


& 


463.  Tsukudajima. 

An  island  near  Yedo ;  boats  with  large  sails. 
Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


464.  Yoshiwara. 


A  gay  street  scene;  skillful  use  of  the  umbrellas  in  the  composition. 
A  sparkling  print. 

Fine  impression.  Publisher's  state. 

Signefi:  Hiroshige. 


y 


465.  Ryokokn  Bridge.  '  - -* 

A  near  view  of  the  bridge;  a  large  pleasure  boat  in  center;  fireworks  in 
p>  'i  CJ  distance. 

Good  impression.  Collector's  state. 

466.  A  Rocket  Bursting  Above  the  Siimida  River. 

Colors  as  when  printed. 

"7  CT(J 

/  — -  A  fine  impression.  Publisher' s  state. 

Signed :  Hiroshige. 


467.  Gotenyama. 

Picknickers  on  a  hill  overlooking  town  and  water.  Sails  in  the  distance. 
XZ  A)  ■tist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


^UtoSld  ToFUu. 


7^ 


YESAKI  (YETATSU)  TOKAIDO  SET 

Twenty-one  plates  of  the  set;  horizontal,  considerably  less  than  full  size;  a  set 
little  known,  but  containing  many  plates  of  great  beauty;  quite  different  in  treat¬ 
ment  from  most  of  Hiroshige's  work ;  detail  seems  to  have  been  brushed  aside  and  more 
reliance  placed  upon  the  use  of  strong,  broad  color  treatment. 

468.  Shinagawa  (No.  2). 

Fine  color  and  design. 

Fine  impression.  Publisher’ s  state. 

Signed:  Hiroshige. 


Evening  Session 


469.  Yoshiwara  (No.  15). 


Unusual  for  its  sketchy  effect. 
Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


470.  Ejiri  (No.  19). 

A  fine  snow  scene. 

Ac.  Artist's  impression.  Collector's  state. 
Signed:  Hiroshige. 


471.  Mariko  (No.  21). 


An  attractive  design. 

Fine  impression.  Publisher’ s  state. 
Signed:  Hiroshige. 


472.  Fukuroi  (No.  28). 

Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


J  0  . 


473.  Mitzuki  (No.  29). 

i<f-  One  of  the  finest  composition  of  the  set.  (/ 

Fine  impression.  Publisher's  state. 

Signed:  Hiroshige. 


474.  Hamamatsu  (No.  30). 


Fine  impression.  Collector' s  state. 
Signed:  Hiroshige. 


475.  Maizaka  (No.  31). 

A  sparkling  print. 

J.  Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


476.  Arai  (No.  32). 

Fine  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


ftf  ft.  f 


477.  Shiraiki  (No.  33). 

Unusually  fine  in  design  and  color.  ftft 

/  ~7  Fine  impression.  Publisher’ s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXV) 


478.  Yoshida  (No.  35). 

Artist’s  impression.  Publisher’s  state. 
t^T'  Signed:  Hiroshige. 


Evening  Session 


479.  Goyu  (No.  36). 


Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


480.  Okazaki  (No.  37). 


7 


Fine  impression.  Publisher' s  state. 
Sigtied :  Hiroshige. 


Tirj, 


481.  Fujikawa  (No.  38) . 

Fine  impression.  Collector' s  state. 
Signed :  Hiroshige. 


7 


s  & 


482.  Okazaki  (No.  39). 

Fine  impression.  Publisher' s  state. 
Signed:  Hiroshige. 


<z 


483.  Miwa  (No.  42). 

Artist’s  impression.  Collector's  state. 
Signed:  Hiroshige. 


/7 


484.  Kara  (No.  45). 

ap  o  a  very  fine  sno  w  scene. 

Artist’s  impression.  Collector’s  state. 
Signed:  Hiroshige. 


485.  Sliono  (No.  46). 

Artist’s  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


486.  Tsuchiyama  (No.  50). 

A  rain  scene. 

Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


cl? 


487.  The  Same. 

The  rain  block  omitted. 

Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


488.  Kusatsu  (No.  53). 

A  fine  design,  in  beautiful  color 
Artists  impression.  Publisher's  state. 
Signed :  Hiroshige. 


£  7  7^1^ 


Evening  Session 


HIROSHIGE’S  BIRDS  AND  FLOWERS 


as: 


Panels  about  6%  inches  by  14  y2  inches. 

489.  Peacock  on  a  Flowering  Tree. 

Remarkable  printing  of  the  bird's  feathers; 
color  blocks  is  very  unusual. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


he  use  of  g  duff  rage  over  the 


do. 


490.  Parroqnette  and  Cherry. 

Good  impression.  Collector's  state. 
Signed:  Hiroshige. 


27 


SO 


491.  White  Heron  Alighting  Among  Iris. 

A  famous  print;  the  bird  looks  like  a  wraith  among 
fine  color. 

Artist’s  impression.  Good  state. 

Signed:  Hiroshige. 


the  flowers;  gauffrag 


/2 


492.  Kingfisher  and  Hydrangea. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


493.  Gray  Bird  on  a  Flowering  Branch. 

Petals  of  flowers  in  gauffrage. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


494.  Peacock  and  Peonies. 


A  marvelous  impression,  in  exquisite  color ;  gauffrage. 
Artist’s  impression.  Good  state. 

Signed:  Hiroshige. 


495.  Sliirim  and  White  Plum. 


Artist’s  impression.  Good  state. 
Signed:  Hiroshige. 


MISCELLANEOUS  BIRDS  AND  FLOWERS 


49(».  Small  Bird  on  a  Flowering  Maple. 


7 


A  square  print  in  flue  color. 
Good  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


C?  js 


Evening  Session 


497.  Green  Bird  on  a  Flowering  Branch. 

A  square  print  in  fine  color.  ^7?  /4C  <2- 

*£U?-  Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


/z 


498.  Sparrow.  /r  ,t  ,, 

The  bird  is  fiying  above  a  spray  of  yellow  flowers;  a  square  print  in  fine 
: i  color. 

Fine  impression.  Collector's  state. 

Signed :  Hiroshige. 


499.  A  Bine  Bird. 


A  drooping  branch  of  yellow  flowers. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


A  square  print. 


So 


500.  Peacock  and  Snowy  Pines. 

Half  plate  horizontal. 

_ A  beautiful  design  and  very  rare;  exquisite  in  the  delicacy  of  printing  of  pinks 

*•  and  grays;  one  of  the  treasures  of  the  collection. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 

(Illustrated,  plate  XXV ) 


501.  Parroquet  and  Pine. 

A  fine  design  and  a  rare  print. 
Fine  impression.  Publisher' s  state. 
Signed:  Hiroshige. 


(Illustrated,  plate  XXV) 


502.  Triptych.  /r  '•  *• 

Three  small  upright  bird  and  flower  designs  printed  on  a  single  sheet,  the 

_  three  never  having  been  separated ;  rare  for  this  reason. 

^  Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 

At  the  American  Art  Galleries 
2:30  o’clock 
November  If,  1916 


503. 


/7 


jr 


SHUNYEI 

(1769-1819) 

The  Actor  Ishikawa  Dan  jure. 

He  appears  in  the  role  of  a  man  holding  a  lantern,  at  the  edge  of  a  river. 
Size  12x6.  A  night-scene,  with  black  background.  From  the  Hayaslii  collection. 
In  fine  condition. 

(Illustrated,  i date  IV) 


Z2 


504.  A  Bust  Portrait  of  an  Actor, 

In  the  robes  and  ceremonial  hat  of  a  Daimyo.  /v 

-f  u  Size  13x8.  No  other  copy  of  this  print,  has  come  under  observation ;  and  in  spite 
of  its  faded  condition  it  remains  one  of  Sliunyei's  masterpieces.  No  one 
but  Sharaku  has  achieved  such  savagery  and  such  decoration. 

(Illustrated,  plate  IV) 


505. 

/7-z* 


The  Actor  Ishikawa  Yaozo  in  Female  Bole.  ° 

He  holds  a  ceremonial  hat :  against  a  snowy  rustic  background. 

Every  line  in  this  intricate  composition  plays  a  part  in  the  total  effect  of  tragic 
intensity.  Hosoye.  In  superb  condition. 


/Alt' 


506.  The  Actor  Ishikawa  Danjuro. 

7^  He  appears  in  the  role  of  a  warrior  with  a  two-handed  sword.  Sizef  11x5. 


507.  The  Actor  Ivosagawa  Tsuneyo  as  a  Woman. 

Size  12x5.  In  good  condition,  soft  colors. 

From  the  Wakai  collection. 


508.  An  Actor  with  Two  Swords. 


£  £T6  Full-size  upright  sheet. 


In  fine  condition.  Rare  and  important. 


jro 


KORIUSAI 

(Worked  c.  1770-1781) 

509.  A  Courtesan  and  Her  Attendant. 


Pillar-print.  One  of  Koriusai’s  characteristic  and  graceful  portraits  of  women. 


510.  Young  Man  with  a  Falcon. 

Fuji  in  background. 

Pillar-print.  A  vigorous  and  dignified  design. 


Second  Afternoon  Session 


511.  Girl  Standing  on  Boy’s  Back  to  Reach  Blossoms/  • 

Both  figures  are  drawn  with  a  suavity  equal  to  Harunobu’s ;  and  the  color  is  of 
an  unsurpassed  loveliness. 

Pillar-print.  In  notable  condition. 

(Illustrated,  plate  XIII) 


512.  A  Courtesan  Reading  a  Letter  Under  a  Spray  of  Wis- 
/  taria.  yy  yy  y  yy 

(O  t/ .  Pillnv-nrint  ~\Tntahlp.  in.  color  and.  condition.  '!•  /  r  »  /  _ 


Pillar-print.  Notable  in  color  and  condition. 

(Illustrated,  plate  XIV) 


513.  A  Courtesan  on  a  Veranda  Reads  a  Letter. 


On  the  balcony  above  a  young  man  also  reads  it  by  means  of  a  mirror : 
under  the  veranda  an  old  man  peers  up  at  it. 

Pillar-print.  A  parody  on  the  Ronin  story. 


514.  Same  Subject  as  Preceding  Number. 

y^  ~~  These  two  prints,  printed  in  wholly  different  colors,  are  an  interesting  example  of 
the  variations  so  often  employed  by  these  artists. 


515.  Girl  Standing  on  Veranda  Tasting  the  Bud  of  a  Morning 

Glory-  ?r  ?r  AP.  .  - 

Pillar-print.  'r.  -  . 

One  of  Koriusai’s  most  graceful  figures.  Fenollosa  writes  of  this  design — “He&f 
perfection  of  conception,  coloring  and  printing  seems  to  be  reached.  Woman¬ 
hood  and  Nature's  flowers  seem  to  grow  together,  in  a  common  mood  of 
innocence  and  siveetness." 


516. 


Girl  on  Horseback  Fording  a  Stream. 

A  young  man  leads  the  horse.  In  background,  the  moon  rises  behind  clouds. 
Pillar-print.  In  fiatvless  condition.  Of  this  design  Fenollosa  ivrites — “ Here 
is  another  superb  originality  in  two-figured  composition.  How  fine  the  tint 
of  the  orange  horse!  The  girl  droops  Wee  a  beautiful  flower:  she  feels  the 
sentimental  spell  of  the  barred  moon  .  .  .  Perhaps  Koriusai’s  most 

charming  style.” 


517.  A  Girl  Leans  Over  a  Fence  to  Return  a  Kite. 


2* 


Pillar-print. 


A  fine  impression  of  a  well-Tcnoirn  print. 

(Illustrated,  plate  XIV) 


TOYOHARU 

(Worked  c.  1760-1780) 

518.  Man  Reading  a  Letter.  *' 

On  the  balcony  above,  a  Courtesan  looks  down  to  read  it;  and  at  the  man’s 
6  \  feet  a  large  crab  is  also  busily  perusing  it. 

Pillar-print.  A  parody  on  an  episode  in  the  story  of  the  Forty-Seven  Ronin. 


519.  A  Girl  Leans  Over  a  Fence  to  Return  a  Kite. 

^  Pillar-pnnt. 


Second  Afternoon  Session 


HARUMITSU 

(Worked  c.  1180-90)  ^ ^ 

520.  A  Woman  Carrying  An  Umbrella,  on  the  Sea  Shore. 

^ Pillar-print.  This  is  perhaps  the  sole  known  work  of  this  admirable  and  unrecorded 
artist.  A  fine  composition,  in  the  style  of  Kiyonaga. 

(Illustrated,  plate  XI) 


YUMISHO 

(Worked  c.  1780-90 ) 

521.  A  Girl  Climbing  Steps.  ^  ^  . 

On  the  balcony  above  sits  another  girl :  the  shadow  of  a  man  appears  on 
XU  the  screen. 

Pillar-print.  An  unusual  print,  by  a  wholly  unknown  artist.  This  is  the  only  work 
of  his  that  has  come  to  notice.  Vigorous  in  line. 


/<57 


YEISHI 

(Worked  c.  1780-1805) 

522.  A  Woman  and  Two  Little  Girls.  C  . 

They  stand  before  a  railing  that  encloses  peonies :  another  woman  sits  Heal¬ 
th  em. 

Size  12x8.  The  right-hand  sheet  of  a  triptych  representing  the  amusements  of 
Prince  Genji. 


523.  A  Kneeling  Woman. 

Full-size  upright  sheet.  Yellow  background.  Portions  of  the  design  are  printed 
/  0.  with  mica.  In  beautiful  condition.  One  of  Yeishi’s  fine  and  characteristic 

prints. 

(Illustrated,  plate  VII) 

524.  Three  Women  Grouped  Around  a  Transparent  Screen. 

Full-size  upright.  In  beautiful  condition,  with  an  animation  of  color  unusual  in 


/&  0 


Yeishi's  work.  It  sings! 

(Illustrated,  plate  VI) 


/6o 


525.  The  Courtesan  Konmrasaki  of  Kado  Tama-ya  and  Three 
Attendants  Walking  Under  a  Cherry  Tree. 

Three  tall  figures  and  a  girl,  drawn  in  the  majestic  Kiyonaga  manner:  in 
color,  a  monotone  of  grays  and  blacks,  lighted  up  with  touches  of  yellow  and 
terra-cotta.  Pale  yellow  background. 

Full-size  upright  sheet.  One  of  Yeishi’s  most  important  and  famous  prints.  A 
superb  impression,  in  admirable  condition:  one  of  the  most  notable  prints 
of  the  collection. 


(Illustrated,  plate  VII) 


Second  Afternoon  Session 


</* 


520.  A  Woman  in  a  Black  Robe  Seated  Beside  a  Tabourette. 

0  Size  13x9.  In  flawless  condition.  Printed  with  yellow  background.  A  characteristic 
and  beautiful  design. 


527.  A  Poetess,  with  Flowing  Antique  Robes  and  Streaming 
,  Hair. 

,  6 

J  A  ^  Size  10x7.  From  “The  thirty-six  Poetesses,  Onna  saiijin  rokkasen,  ’  1798.  In 
beautiful  condition. 


jT2 


fo 


528.  A  Woman  Kneeling. 


Size  13x9. 


Z.  ^/'efc^/Ccyty. 

Printed  on  a  yellow  background.  A  figure  of  peculiar  grace. 
(Illustrated,  plate  III) 


529.  Six  Women  in  a  Garden. 


Two  are  walking,  two  are  feeding  a  crane,  two  more  are  playing  musical 
instruments. 

Conventional  clouds  fill  the  top  of  the  picture :  the  remainder  of  the  background  is 
a  delicate  gray.  A  triptych,  of  three  full-size  upright  sheets.  “Ryaku 
Tsure-zure  Gusa.” 


530.  A  Group  of  Six  AVomen. 


2?  £  ^ 


The  scene  is  the  court-yard  of  a  palace ;  three  of  the  women  are  playing 
musical  instruments;  one  on  the  right  carries  a  tray;  two  on  the  left  are 
conversing. 

Two  full-size  upright  sheets,  being  the  middle  and  left-hand  portion  of  a  triptych 
from  the  famous  “Prince  Genji”  series.  Colored  in  Yeishi’s  characteristic 
scheme  of  gray,  yellow,  violet,  blue,  and  black. 

From  the  Fenollosa  collection. 


531.  A  Woman  and  Her  Lover  Walking  in  the  Fields. 

Pillar-print.  A  notable  print.  Few  pillar-prints  by  Yeishi  have  been  discovered. 
This  is  a  striking  design  in  perfect  condition. 

(Illustrated,  plate  XIII) 

* 


YEISHO 

(Worked  c.  1790-1805) 


j~#532.  A  Courtesan  Attended  by  Two  Women. 

J  "7  They  are  walking  under  cherry  trees. 

Full-size  upright.  The  left-hand  sheet  of  a  triptych.  A  fine  print  in  flawless 
condition:  rare. 


533.  Two  Women  Walking  by  the  Sea  Under  Cherry  Trees. 


Size  13x9.  A  fine  print,  in  flawless  condition. 

(Illustrated,  plate  III) 


2  / 


Second  Afternoon  Session 


534.  The  Courtesan  Kiseigawa  of  Matsuba-ya. 

Pillar-print.  Unsigned:  but  attributable  to  Yeisho  on  grounds  of  style.  Opinions 
AT  may,  hoivever,  differ:  this  print  was  attributed  to  Shuncho  in  a  Paris 


catalogue  a  feu ;  years  ago. 


/3 


UTAMARO 

(1758-1806) 

535.  Woman  Holding  a  Basket. 

—  At  her  feet  kneels  another  woman  whose  hands  are  concealed  in  her  sleeves. 


Size  12x9. 


536.  The  Courtesan  Nigi-oi  of  Matsuba-ya. 

She  stands  under  a  cherry  tree :  beside  her,  smoking,  £its  the  great  Yedo 
merchant  Mitsui. 

Full-size  upright  sheet;  the  middle  sheet  of  a  triptych.  Printed  in  delicate  tones 
of  grey,  violet,  green  and  yellow.  A  famous  print,  in  good  condition. 

From  the  Fenollosa  collection. 


( Illustrated ,  plate  V) 

537.  A  Man  with  the  Basket  Hat  and  /Flute  of  a  Komuso. 

He  is  standing  beside  a  plum  tree :  a  young  girl  stands  behind  him.  Without 
background. 

Size  13x9.  In  good  condition,  and  soft  color. 


538.  Double  Bust  Portrait  of  Two  Women. 

One  is  arranging  the  hair  of  the  other. 

Full-size  upright  sheet.  An  exceptionally  fine  impression,  in  soft  colors. 

(Illustrated,  plate  VI) 


& 


539.  A  Woman  and  Two  Girls  on  the  Sea  Shore. 

Full-size  upright.  A  striking  design,  in  good  condition. 

(Illustrated,  plate  V) 


540.  The  Courtesan  Midorigi  of  Waka-Matsu-ya. 

She  is  walking  with  her  four  attendants  under  a  cherry  tree.  "  / 

Full-size  upright  sheet.  Printed  in  pale  colors  and  gauffrage.  A  very  early  work, 
under  the  influence  of  Kiyonaga:  of  extreme  rarity,  and  in  fine  condition. 


A6 


541.  Woman  and  Boy  Watching  Butterflies  Through  a  Win- 

—  Behind  them  stands  another  woman  holding  a  child. 

Full-size  upright  sheet,  in  fine  condition.  One  of  Utamaro’s  famous  “Silkworm 
Series.”  “Jo-shoku  kaiko  tewaza  kusa.”  From  the  earliest  edition,  charac¬ 
terized  by  yellow,  green  and  violet  color-scheme. 


Second  Afternoon  Session 


yf7  — 


542.  The  Goddess  Benten  With  Her  Chinese  Lute. 

She  is  seated  on  a  veranda :  before  her  sits  a  man  in  a  grey  robe,  while  a 
courtesan  stands  at  her  side  and  a  girl  stands  behind  her. 

Full-size  upright  sheet.  An  early  work. 

The  theory  is  advanced  by  Dr.  Kurth  that  this  print  is  Utamaro's  representation 
of  himself,  overwhelmed  with  surprise  by  the  aparition  of  the  Goddess  as 
he  dallies  in  one  of  the  houses  of  the  Yoshiwara.  This  hypothesis,  of  great 
interest,  cannot  be  vouched  for:  nevertheless,  it  adds  a  personal  interest  to 
the  print. 


543.  Woman  with  Naked  Breast  Sitting  on  a  Bench  Under 
the  Crescent  Moon. 

Reside  her  stands  a  girl  with  a  fan.  /f 

Full-size  upright.  In  good  condition.  The  ski/,  graded  from  black  into  white,  is 
noteworthy .  Mr.  Gookin  has  suggested  that  this  print  may  be  by  Utamaro  11; 
but  the  writer  of  this  portion  of  the  catalog  (A.  D.  F.)  reserves  his  opinion, 
being  unconvinced. 

(Illustrated,  plate  V) 


/7 


544.  Half-length  Portrait  of  the  Courtesan  Myabito  of 

Ogi-ya.  ^ 

Full-size  upright  sheet.  Mica  background.  No  color :  printed  from  a  key-bloc 
only.  This  beautiful  hut  doubtful  print,  differs  in  line  from  the  key-block 
of  a  famous  similar  print  by  Utamaro.  Its  exact  character  is  difficult  to 
determine.  Caveat  emptor! 

(Illustrated,  plate  VII) 

545.  A  Woman  Making  Paper  Flowers.  ^ 

Rehind  her  stands  a  man  who  is  examining  one  of  her  productions. 

Full-size  upright.  In  good  condition. 


546.  Two  Women  on  the  Bank  of  the  Snmida  River. 

One  is  seated,  the  other  holds  a  battledore  in  her  hand. 

3?  0.  Full-size  upright  sheet.  In  marvelous  condition,  with  colors  at  full  original  bril¬ 
liance. 


547.  Woman  Filtering  a  Room  Where  Two  Other  Women 


77 


sjt 


and  a  Child  Are  Seated. 

Size  12x9.  In  fine  condition.  Early  work. 


U2^ 


548.  Woman  With  An  Umbrella.  ^ 

She  is  receiving  an  article  of  clothing  from  another  woman  who  is  washing 
//-F  clothes. 

Full-size  upright.  In  fine  condition.  The  standing  figure  is  of  extreme  grace. 

(Illustrated,  plate  V) 


7 


549.  Two  Hanging  Baskets  of  Flowers.  /P/P 

&  Size  12x8.  Printed  in  black  and  grey  only. 


Second  Afternoon  Session 


to. 


550.  A  Pine  on  the  Sea  Shore. 


Beneath  it  two  legendary  figures,  a  man  and  a  woman,  stand  with  rake  and 
broom. 

Size  8x17.  Printed  on  surimono  paper,  in  soft  colors. 


551.  Group  of  Women  on  a  Balcony. 

„  They  are  feeding  a  caged  bird.  In  the  centre  of  the  room  behind  them  is  a 

2-7  screen  bearing  a  painting  of  Fuji. 

Full-size  horizontal  sheet.  In  super b  condition.  One  of  a  series  of  album-sheets, 
“Otoko  Toka,”  1798. 


552.  A  Snowy  Landscape. 

In  the  background,  a  brook  and  a  house  out<fef  which  a  woman  is  peering: 
sy  in  the  foreground,  the  figures  of  several  passers. 

Full-size  horizontal  sheet.  One  of  an  album-series  of  five  entitled  “Yehon  waka 
Ebisu,”  scenes  of  New  Year’s  Day.  Date  1786.  Dr.  Kurth  calls  this  series 
“ ein  walires  jewel  an  Farbenschonheit  und  Technik."  In  fine  condition. 


77 


553.  A  Girl  With  a  Fan.  ^ 

^  Pillar-print.  An  early  and.  notable  example  of  Utamaro's  freshest  period,  c.  1790. 


554.  Two  Courtesans;  Half-length  Portraits.  ^Z.  - 

Pillar-print.  A  very  rich  composition. 


555.  A  Woman  Standing  Under  a  Willow.  ^  . 


/ ^ 7  ^  Pillar-print. 


556.  Two  Courtesans  in  Robes  of  Rich  Color.  c  -  2. 

7  5T  Pillar-print. 


SHUCHO 

(Worked  c.  1790-1810) 

557.  Woman  With  a  Pipe;  a  Man  Beside  Her.  /f 

^  Pillar-print.  A  rare  artist. 


7A 


BANKI 

(Worked  c.  1795-1810) 

558.  Woman  Looking  Into  a  Small  Mirror. 

__  A  man  bends  over  her. 

Pillar-print.  A  fine  and  rare  work. 


Second  Afternoon  Session 


SEKIJO 

(worud.  o.  mo-mo)  £  £  JU'c^V. 
559.  Woman  With  a  Battledore  and  Ulan  With  a  Fan. 

Pillar-print. 


>7 


YEIZAN 

(Worked  c.  .1800-1825) 

SJL  560.  Seated  Woman  Holding  a  Cricket  Cage. 


Full-size  upright  sheet. 


■?0Cc*-  J?, 


-  561.  Woman  Walking  Under  Cherry  Bonglis  oh  a  Windy 

’  Full-size  upright  sheet. 

I  1  562.  Woman  Reading  a  Letter.  ^  ^  . 

Behind  her,  irises  in  a  vase. 

Full-size  upright. 


563.  A  Mail  Carrying  a  Basket  and  a  Woman  Carrying  Salt 
/*£  Water  Buckets  on  the  Sea  Shore.  £  ^ ^ 

Full-size  upright  sheet. 


3% 


YEISHIN 

(Worked  c.  1800) 


(? 


564.  Two  Women. 


One  is  playing  a  flute  and  the  other  a  stringed^instrument. 
Full-size  upright.  In  fine  condition. 

( Illustrated ,  plate  VI) 


TORIN 

(Worked  c.  1800) 


3* 


565.  A  Rain  Scene. 

jr*  The  scene  shows  the  inside  of  a  house  where  two  men  are  playing  “Go”, 

and  the  misty  landscape  outside. 

Full-size  horizontal.  From  “Otoka  Toka”,  a  book  of  poems,  1798.  In  flawless 
condition:  beautifully  printed. 


SADANOBU 

(Worked  c.  tSSO)  'Y  ^ 


da. 


566.  The  Actor  Onoye  Kikugoro  in  the  Roje  of  a  Female 
Ghost. 

Full-size  upright  sheet ;  background  of  finely  printed  gray  shading  into  black. 
In  superb  color  and  condition.  Perhaps  the  best  of  the  works  of  the  Osaka 


School. 


Second  Afternoon  Session 


KIYOMINE 

(1786-1868) 

j  j  d  Double  Bust  Portrait  of  a  Woman  and  a  Girl. 

/  Full-size  upright.  Grey  background:  the  draperies  touched  with  mica.  In  won¬ 

derful  condition. 


KUNISADA 

(1786-ms)  ^  y  ^ 

3  0.  568.  Woman  Emerging  from  Mosquito  Netting. 

Full-size  upright. 


569.  Moonlight  Dramatic  Scene.  ^ ^  ^ 

A  man  and  a  woman  on  opposite  sides  of  a  flaming  brazier:  a  river  enci 
them. 

Diptych,  of  two  full-size  vertical  sheets.  Kunisada  produced  few  works  of  this 
quality.  Hoc ,  indeed ,  he  achieves  beauty. 


J&. 


KUNIYOSHI 

(1798-1861) 

570.  Nissaka  on  the  Tokaido  Road. 

A  landscape  with  mountains:  five  travelers  in  the  foreground  are  ga  the  row 
around  a  stone  which  marks  the  spot  where  a  murder  occurred. 

Full-size  horizontal  sheet.  A  fine  impression. 

571.  A  Tiger  Surprising  Two  Men. 

jrjf  The  older  flees,  the  younger  attempts  to  frighten  the  beast  away. 

Full-size  horizontal.  A  fine  copy.  From  a  series — “Examples  of  Filial  Piety.” 


T'?' 


572.  Man  with  An  Adze  Hurrying  Through  Snow,  w  y*  ^ 

SJ?  Full-size  horizontal  sheet.  A  fine  copy.  From  the  same  series.  /V'  ^  ■ 


573.  The  Night  Attack  by  the  Forty-Seven  Ronin. 

Under  the  winter  moon,  the  armed  band  are  seen  climbing  the  snowy  outer 
^  wall  of  the  palace  of  their  enemy.  ^ 

Triptych,  of  three  full-size  upright  sheets.  Fine  impression. 


SHTJNSEN 

(Worked  c.  1740-60) 


574.  Three  Women  Dipping  lTp  Salt  Water  on  the  Sea  Shore. 

£  Full-size  horizontal  sheet. 


Second  Afternoon  Session 


/ 


GAKUTEI 

(Worked  c.  1730-1760) 

575.  A  Fleet  of  Fishing;  Boats. 

The  sails  are  sweeping  into  the  harbo/  of  Osaka  under  the  rays  of  the 
setting  sun. 

Full-size  horizontal  sheet. 


/7 


GOSOTEI  TOYOKUNI 

(c.  1777-mo)  n 

576.  Evening  Rain  at  Oyama. 

g- p  A  precipitous  mountain,  slashed  by  torrents  of  rain,  appears  in  the  fore¬ 

ground  :  far  off  to  the  left.  Fuji  is  dimly  visible. 

Full-size  horizontal  sheet.  Marvelous  printing  and  flawless  condition.  From  the 
series  “Meisho  Hakkei,  1S30.” 


577.  Evening  Bell  at  Kamakura,  ^  sr  '  - 

Across  the  temple-roofs  and  court-yard  the  sea  is  visible  and  the  mountains 
beyond. 

Full-size  horizontal  sheet.  In  flawless  condition.  This  print  is  an  extraordinary 
triumph  of  delicate  gradation  in  printing.  From  the  same  series. 


HOKUJU 

(Worked  c.  1835) 


C  -  . 


/7 


*T0 


578.  The  Roman  Forum. 

Full-size  horizontal  sheet.  In  fine  condition.  A  curious  design,  derived  from  a 
European  illustration.  Designed  in  almost  exact  imitation  of  an  earlier 
print  by  Toyoharu  of  the  same  subject,  inscribed  “A  Tower  in  France,  after 
the  Dutch.”  Attributed  to  Ilokuju  with  some  hesitation.  (?) 


HOKUSAI 

(1760-1849) 


Prints  from  the  famous  “Thirty  Six  Views  of  Fuji.”  1823-29.  All  full-size 
horizontal  sheets. 


27 


jc), 579.  The  Tama  River  in  the  Province  of  Musashi 


£  O. 


Fuji  seen  across  the  stream  on  which  a  boat  is  struggling. 


580.  Mishima  in  the  Province  of  Kai. 


7f77r.^ 


Three  men  are  trying  to  measure  a  gigantic  pine  tree,  beyond  which  rises 
the  peak  of  Fuji. 

(Illustrated,  plate  VI II) 


The  Great  Wave  of  Kanazawa. 


The  wave  is  rising  as  if  to  engulf  two  boats  that  swim  in  its  trough ;  Fuji 
seen  in  the  distance. 


(Illustrated,  plate  VIII) 


Second  Afternoon  Session 


7^ 


js: 


3s. 


582.  Ascent  of  Fuji.  7^"  7 

Pilgrims  are  climbing  tlie  tawny  rocks,  with  white  mist  curling  pnout 


them. 

In  marvelous  condition. 


/* 


77 


583.  Fuji  Seen  Through  the  Piers  of  the  Manners  Bridge 

Across  the  Fuku  River. 

584.  Fuji  Seen  at  Tago  on  the  Tokaido. 

In  the  foreground,  the  sea  with  two  large  junks  struggling  with  the  waves. 

585.  Fuji  Seen  Across  the  Roof  of  the  Hongwanji  Temple  at 
Asakusa. 


586.  Ejiri,  in  the  Province  of  Sunshu.  e  ~  ^ 

Fuji  is  seen  across  rice-fields,  where  travelers  are  struggling  with  the 
antics  of  the  wind. 

Pt:  pt^. 

587.  Fuji  Seen  from  Gotenyama,  Across  the  Sumida  Rrv 

In  the  foreground  are  masses  of  cherry  blossoms,  with  people  picknicking 
beneath  them.  A  fine  copy. 


588.  Ushibori  in  the  Province  of  Hitati.  P^c<r  ,  7^3 

/7  ^  Fuji  appears  beyond  a  great  junk  which  is  moored  among  the  water  re^ds. 


0*. 


589.  Fuji  Seen  from  the  Pagoda  of  the  Five  Hundred  Italian 
at  Yedo.  s77  77 

Visitors  leaning  on  the  balcony  are  looking  at  it  across  a  lake. 


590.  Portion  of  a  Daimyo’s  Procession  Crossing  a  Bridge. 

/  Full-size  horizontal  sheet.  From  an  album. 


/ 


591.  Group  of  Women  and  Children  Beside  a  Stream.  ^  ^ 

&  Full-size  horizontal  sheet.  From  an  album. 

592.  Yoshitsune  Serenading  Jorurihime.  y 

The  Prince  with  two  attendants  stands  outside  the  garden ;  withinTfhe 


P7 


en¬ 
closure  appears  the  palace,  and  several  ladies  with  lanterns  are  coming 
to  scrutinize  the  intruder. 

Full-size  horizontal  sheet,  signed  “Shunro.”  A  rare,  curious  and  early  design  by 
Holcusai;  in  good  condition. 


593.  The  Yahagi  Bridge  of  Okazaki,  on  the  Tokaido.  ' 

A  high  curved  span  that  crosses  an  almost  dried-up  river  bed  where 
archers  are  practicing. 

Full-size  horizontal  sheet  in  fine  condition.  From  the  series,  “Shokoku  Meikio 
Kiran,”  the  famous  bridges,  1729-30. 


Second  Afternoon  Session 


594.  The  God  Darnma  Seated. 

Size  8x7.  Printed  in  red.  green  and  grays.  A  Snrimono. 

-(Mu nt rated,  plate  XYI1-) 


595.  Two  Birds  Flying  Under  a  Branch  of  Wistaria.  t 

^  <,  Full-size  horizontal. 

Though  signed  “Hokusai,”  this  is  not  by  him;  it  is  a  design  drawn  from  Taito's 
“ Kwacho  Gwaden,”  Osaka,  1848. 

—(lUustratt'd,  plait:  -X-V  ! I-) — 


HIROSHIGE 

(1797-1858) 


(See  notes  preceding  Lot  No.  81  in  the  first  session.) 


596.  Memorial  Portrait  of  Icliirynsai  Hiroshige,  Drawn 
Toyoknni  (Knnisada). 


The  portrait  was  issued  in  the  month  in  which  he  died.  The  inscription, 
which  is  most  interesting,  translated,  reads : 


Ryusai  Hiroshige  is  a  distinguished  follower  of  Toyohiro,  who  was  a  follower  of 
Toyoliaru,  the  founder  of  the  Utugawa  School.  At  the  present  time,  Hiroshige,  Toyo- 
kuni  (KuniSada)  and  Kuniyoshi  are  considered  the  three  great  masters  of  Ukioye — 
no  others  equal  them.  Hiroshige  was  especially  noted  for  landscape.  In  the  Ansei  era 
(1854-59)  he  published  the  Yedo  Hyakkei  (100  views )  which  vividly  present  the  scenery 
of  Yedo  to  the  multitude  of  admirers.  About  this  time  also  appeared  a  magazine,  en¬ 
titled  Kyoka  Yedo  Meisho  Dzuye  (sonnets  on  Yedo  scenes),  a  monthly,  illustrated  by 
Hiroshige,  and  displaying  his  wonderful  skill  with  the  brush  to  the  admiration  of  the 
world.  He  passed  away  to  the  world  beyond  on  the  6th  day  of  the  9th  month  of  this 
year,  at  the  ripe  age  of  62.  He  left  behind  a  farewell  sonnet:  “Azuma  Ji  Ni  Fude 
ITo  Noko shite  Tabi  A'o  8 ora;  Nishi  No  Mikuni  No  Meisho  Wo  Mimu.” 

Translation:  “ Dropping  my  brush  at  Azuma  (eastern  capital)  I  go  the  long  jour¬ 
ney  to  the  western  country  (Buddhist  heaven  is  west)  to  view  the  wonderful  sceneries 
there.” 

This  is  by  Temmei  Rojin. 

Over  the  signature  Toyokuni  are  the  few  characters  in  a  running  hand  reading. 


“ Omoi  kiya  ralcurui  nagara ” — - 
(“While  thinking  of  him  we  shed  tears.”) 


Seal  date:  Horse  year  9,  i.  e.,  the  accepted  date  of  his  death.  Ansie  5  (1858).  The 
publisher’s  seal  is  that  of  Uwoyei,  who  published  the  100  views  of  Yedo;  the  engraver 
Yokokawa  Take.  The  seal  following  the  signature  of  Toyokuni  reads:  Ki  En  Ikku, 
a  Buddhist  phrase  meaning  life  is  a  mere  puff  of  smoke,  so  short.  Hiroshige  is  rep¬ 
resented  in  a  priestly  garb  of  green  with  a  thin  black  gauze  over-garment.  Note  the 
crest  on  the  robe — a  device  equivalent  to  a  monogram,  composed  of  the  two  syllables 
Hi  and  Ro  combined  in  diamond  shape,  used  often  by  the  artist  as  a  seal.  (Happer 
catalogue.) 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


(Musi rated,  plate  XV) 


Second  Afternoon  Session 


EIGHT  BLUE  PRINTS 

There  have  occasionally  turned  up  in  Japan  a  few  Hiroshiges  printed  on  surimono 
paper,  blue  having  been  used  where  the  usual  printing  was  in  green.  Evidently  very 
few  were  thus  printed.  Until  about  four  years  ago  less  than  half  a  dozen  were  in 
the  known  American  collections.  At  that  time  Mr.  C.  H.  Chandler,  of  Evanston,  the 
most  industrious  collector  of  Hiroshiges  in  this  country,  acquired  about  forty  at  one 
time,  only  a  part  of  which  were  in  fine  condition.  The  blue  prints  here  shown  came 
from  this  lot.  During  the  last  three  years  only  three  or  four  prints  of  this  kind  are 
known  to  have  come  out  of  Japan.  The  wonderful  quality  of  the  blue  makes  these 
prints  distinguished.  It  is  rich  and  delicate,  deep  and  glowing  and  altogether  lovely. 


597.  Sundangi  Dangoznka. 


77^' 


No.  16  of  the  Hundred  Mews  of  Yedo. 

Cherry  gardens  at  Dango  Zuka.  Cherry  trees  in  the  foreground.  Two  tea¬ 
houses  joined  by  a  bridge  overlooking  the  scene.  A  blue-print  rich  in 
color. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


598.  Go  hyakii  Rakan  Sazaido. 


The  hall  of  the  Five  Hundred  Rakan  at  Sazaido.  No.  70  of  the  Hundred 
Views  of  Yedo.  A  corner  of  the  temple  on  the  right  with  five  people  on  the 
balcony  looking  over  the  flat  rice  fields.  A  blue-print  soft  in  color. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


. 


7 


599.  Miya. 

No.  42  of  the  full  size  vertical  Tokaido  set.  A  blue-print  rich  in  color. 
Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


600.  Ilammamatsu. 


7^ 


4? 


37 


No.  30  of  the  full  size  vertical  Tokaido  set.  A  blue-pmit,  soft  in  color. 
sy  Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

601 .  Hakone.  y 

No.  11  of  the  full  size  vertical  Tokaido  set.  A  blue-print  soft  in  color. 
•XO  Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


602.  Takata,  Siigatami  no  haslii,  omoka^i  no  liashi,  Jariba. 

“The  deposit  place  for  small  stones  used  in  mending  roads,  between  the 
Sugatami  and  Omakagi  bridges.”  View  of  a  field  between  a  Dobaslii  over 
which  four  people  are  passing  and  another  away  over  among  the  trees. 
No.  116  of  the  Hundred  Views  of  Yedo.  A  blue-print  in  brilliant  state. 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

( Illustrated ,  plate  XXIV) 


\ 


Second  Afternoon  Session 


/  0  0. 


2 1 


603.  Yosuki  dori,  you  sui  Hikifune.  Jf'/f 

‘•The  water  business  of  hauling  boats  on  the  canal  atf  Yosuki.”  Men  Valk- 
ing  along  a  yellow  bank  towing  boats.  Fine  in  design.  A  blue-print,  soft 
in  color.  A  remarkable  impression  in  its  sketchy  effects.  No.  33  of  the 
Hundred  Views  of  Yedo. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXIV) 


604.  Kuwana. 


-  V 


No.  43  of  the  full  size  vertical  Tokaido  set.  A  blue-print,  rich  in  color. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


FUJI  SAN  RAKKEI 


Thirty-sir  views  of  Fuji.  Full-size  vertical  plates;  a  part  of  the  set. 

The  preface  to  this  set  states  that  the  illustrations  were  received  “last  spring” 
(1858)  ;  that  the  artist  died  in  (he  9th  month  “last  year,”  and  the  plates  were  care¬ 
fully  published  as  “an  offering  of  sincere  respect  to  my  deceased  friend.” 

605.  Shoshiyu.  7  // 

A  man  on  a  raft  with  smoke  ascending.  White  heron  alighting  in  fore¬ 
ground. 

A  sparkling  print. 

Artist’s  impression.  Publisher's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXI) 


606.  Sui'uga  Satta  ato  Kaijo. 


The  sea  coast  at  Satta  Point  with  a  great  wave  rising  on  the  right. 
Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


/ 

// 

607.  Asukayama.  ''  4 

Cherry  trees  on  a  green  sloping  field,  a  group  of  five  people  looking  at  them 
^2?  and  two  men  advancing  toward  them. 

Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


608.  Musashi  Kogan ei. 


Fuji  seen  through  a  hole  in  the  trunk  of  a  cherry  tree  by  the  side  of  a 
stream. 

A  well  known  design  in  a  beautiful  printing. 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


609.  Meguro. 


cZ.  V  . 


$7 


Fuji  seen  between  two  maples  on  a  yellow  hillside.  The  grass  a  rich,  bril¬ 
liant  yellow,  the  maple  leaves  a  delicate  pink. 
rfA'  A  rare  printing.  One  of  the  gems  of  the  collection. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXI) 


610. 


Soshn  Hakone  no  Kusui. 

The  Lake  of  Hakone  surrounded  by  green-topped,  yellow-fat:ed  cliffs  and 
Fuji  beyond  with  a  white  cloud  round  its  sides.  Exquisite  shades  of  green 
and  yelloiv. 

Artist's  impression.  Collector’s  state. 

Signed :  Hiroshige. 


611. 


612. 


/&. 


Ise  Fntaini  ga  ura. 

The  Husband  and  Wife  Rocks  lashed  together  with  straw  ropes.  The 
shading  in  the  rocks  is  a  fine  piece  of  printing. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige.  / 

/) 

Musashi  Noge  Yokohama.  ^ ' 

A  strip  of  pine-covered  land  stretching  out  to  sea  from  the  village'formerly 
named  Noge,  and  six  junks  sailing. 

Vine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


613. 


jTo> 


Tokaido  Yoshiwara.  *  •, 

An  old  priest  and  a  woman  under  great  pine  trees  and  peasants  working  in 
a  rice  field.  Note  delicacy  of  printing  in  the  foreground. 

Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


614.  Snkiya  Gashi. 


The  moat  around  Yedo  castle  in  snow  with  boats  moored  and  the  castle 
Aj5'  wall  on  the  right.  3 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


VIEWS  OF  THE  SIXTY-ODD  PROVINCES 


Vertical  full-size  plates ;  publisher  Koshimuraya  Heisuke ;  on  each  plate  are 
stamps  of  date,  publisher  and  engravers,  five  in  all. 


615.  Isliiiiiy. 


i.  X 


Three  water  carriers  and  two  clam  gatherers  on  a  beach  with  hills  on  the 
left. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


Second  Afternoon'  Session 


616.  Slii  mo  osa. 


Five  figures  on  the  shore  of  a  body  of  water  with  Fuji  in  t lie  distance. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


A  rain  scene.  The  rain  falls  in  ribbons;  a  man’s  hat  flying  in  the  air.  An 


/£>• 


unusual  rendering  of  a  rain  storm. 
Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


618.  Idznino 


Three  women  in  the  foreground.  Two  figures  disappearing  in  a  misty 


forest. 

Good  impression.  Collector's  state. 
S  igned :  H  i  roshige. 


619.  Mariko. 


A  low  shore  with  scraggly  pines.  T  famous  print. 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


/ 


620.  Ivai  sarnhashi. 


Monkey  bridge.  A  fine  copy  of  a  well  lenown  print. 
0 .  Fine  impression.  Collector's  state. 

Signed :  H  iroshige. 


621.  Yamato. 


Boatman  on  a  raft  in  a  river.  A  cliff  at  the  right  with  reu  leaves  partly 
oxidized. 


Fine  impression.  Collector's  state. 
Signed:  Fliroshige. 


622.  Tsushima 


A  low  promontory  in  center  foreground.  A  number  of  boats  and  hills  in 
the  distance.  A  fine  rainbow  crosses  the  upper  part  of  the  print.  Th( 
three  rainbow  prints  shown  in  this  collection  arc  the  only  ones  that  have 
come  under  our  observation.  A  plate  of  great  beauty. 

Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


623.  Oki  Takibi  Yashiro. 


Fire  temple,  Province  of  Oki.  Two  large  junks  with  their  prows  facing  the 
shore  where  is  a  pathway  leading  to  a  Shinto  shrine.  The  water  is  a  fine 
piece  of  printing. 

Artist's  impression.  Collector' s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


(324.  Io  yo. 


A  large  furled  sail  in  the  foreground;  a  startling  flight  of  geese  across 
sky  above  it.  A  very  decorative  design. 

Fine  impression.  Collectors  state. 

Signed:  Hiroshige. 


the 


625.  Awa  no  narnto. 


£  r 


The  whirlpool  of  Awa  on  the  south  shore  circuit.  A  bold  design. 
Fine  impression..  Collector's  state. 

Signed:  Hiroshige. 


✓ 


626. 

S’# 


Yedo. 

A  night  scene.  A  crowded  street  before  Akasuka  Temple. 
fused  design,  but  soft  and  beautiful  in  color. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


UPRIGHT  PANEL  PRINTS  ABOUT  5  INCHES  BY  14%  INCITES 


627.  The  Four  Seasons  in  Yedo.  ^ 

Spring,  cherry  blossoms  at  Gotenyama.  Mother  and  child  undew  a  cherry 
tree  with  junks  in  the  distance. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


628. 

/>  ^ 


Asnkayama. 

Spring  view.  A  small  canal  at  the  base  of  a  hill. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


629.  The  Four  Seasons  in  Yedo. 

Summer.  Ryokoku  bridge. 

—  Good  impression.  Publisher's  state. 
Signed:  Hiroshige. 


*MU  TAMA  GAW A — PANEL  SERIES  ABOUT  5  IN.  BY  14%  IN. 


630.  Settsn. 


Two  women  pounding  clothing  with  mallets  in  the  moonlight. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXIV) 


631.  Omi. 

A  poet  gazing  at 
"7  Fine  impression.  Good 

/  Signed:  Hiroshige. 


the  reflection  of  the  moon  in  the  water. 
state. 


Second  Afternoon  Session 


632.  Yama  sliiro. 

The  poet  on  a  horse  fording  the  river. 
Good  impression.  Ordinary  state. 

Signed:  Hiroshige. 


/J7 


633.  Musachi. 


A  woman  standing  on  a  rock  washing  clothes. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


/V. 


634.  Kii  Koga. 


Go. 


Poet  crossing  a  foot-bridge  gazing  at  a  waterfall. 
Good  impression.  Collector's  state. 

Signed:  Hiroshige. 


635.  Michinokii,  Noda. 


/JT 


A  poetess  stands  gazing  at  a  liock  of  sanderlings. 
Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


MARUZEI  TOKAIDO 


Full-size  horizontal  plates.  Each  one  is  numbered  and  stamped  or  signed  with 
the  publisher’s  name  Maruzei.  This  set  contains  many  fine  designs.  Fine  impressions 
and  generally  fine  condition. 

636.  Shinagawa  (No.  2). 

Tea  house  on  the  shore  of  the  bay. 
decorated  with  Hiroshige’s  diamond  seal. 

Fine  impression.  Good  state. 

Signed:  Hiroshige. 


Junksfat  anchor;  at  the  left  a  lantern 


637.  Kawasaki  (No.  3). 


0/(y  „  /f/-  , 


Two  heavily  loaded  ferries  in  the  foreground.  A  junk  in  full  sail  beyond. 
Fine  impression.  Good  state. 

Signed:  Hiroshige. 


638.  Hodogaya  (No.  5). 


/ 1'.  ^ ' 


A  snow  scene.  A  bridge  crossing  a  stream  with  houses  at  each  end.  Note 
the  grain  of  the  wood  in  the  ski/  and  water. 

Fine  impression.  Publisher's  state. 

Signed:  Hiroshige. 


639.  Totsuka  (No.  6). 

A  road  with  travelers  on  the  left. 
Good  impression.  Good  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


7 


/> 


640.  Mishima  (No.  12). 

A  village  street.  Trees,  torii  and  open  shops.  The  grain  of  the  wood  is 
'£7?’  noticeable. 

Good  impression.  Collector's  state. 

Signed :  H  ir oshige. 

641.  Numadzu  (No.  13). 

Houses  in  a  grove  of  trees,  in  the  foregrounds  Fuji  towering  above  a  range 


of  hills  in  the  distance. 

Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


/> 


642.  I-Iara  (No.  14).  : 

Three  travelers  and  a  horse  on  a  yellow  road.  Fuji  covers  half  the  plate. 


Fine  impression.  Collector's  state. 
Signed :  H  iroshige. 


C/ts,  _ 


> 


v7 


77 


643.  Yoshiwara  (No.  15). 

A  group  of  travelers,  one  on  a  horse.  Fuji  in  the  distance.  Hiroshige’s 
diamond  seal. 

Artist's  impression.  Publisher' s  state. 

Signed:  Hiroshige. 

644.  Okitsu  (No.  18).  ^ 

j-p.  Junks  under  full  sale.  Fuji  on  the  left.  Hiroshige’s  Qitfmoud  seal. 

Good  impression.  Good  state. 

Signed:  Hiroshige. 

045.  Marik o  (No.  31).  // 

A  snow  scene.  A  village  in  a  valley.  Hiroshige's  diamond  seal. 

Good  impression.  Collector's  state. 

Signed:  Hiroshige. 

646.  Fujieda  (No.  23).  ^  ^  AZ*^f&***^*^. 

Four  travelers  endeavoring  to  protect  themselves  from  the  rain.  Two  large 
trees  and  a  small  stack  of  yellow  straw. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


^7 


647.  Shimada  (No.  24). 

Travelers  fording  a  river. 
Fine  impression.  Publisher's  state. 
Signed:  Hiroshige. 


648.  Nissaka  (No.  26). 

A  large  stone  and  three  large  trees  in  the  foreground. 
JZ  C?  Ai'tist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


<7^  / 


Second  Afternoon  Session 


649.  Fuji  Kawa  (No.  38). 

A  daimyo’s  procession  between  two  green  hills. 
Good  impression.  Collector’s  state. 

Signed:  Hiroshige. 


650.  Hamamatsu  (No.  30). 


Two  men  and  a  woman  near  two  crooked  pines  on  the  sea  shore.  Boats 
■yS'0  tossing  on  the  rough  waters  beyond.  A  noted  print. 

Late  impression.  Collector's  state. 

Signed:  Hiroshige. 


651.  Miya  (No.  42). 


£  x?.  , 


A  group  of  boats  at  anchor  near  a  pier  on  the  right.  Five  boats  under 
full  sail  coining  into  the  picture  on  the  left. 

Fine  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


<^d. 


652.  Kuwana  (No.  43). 

A  large  ferry  boat  tills  the  plate. 


Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


/ 


7n^>. 

653.  Isliiyaknshi  (No.  45).  y 

A  street  scene.  Every  one  is  busily  engaged,  especially  one  of  the  men  in 
—  the  near  foreground  who  appears  to  be  speaking  in  great  earnestness. 

Fine  impression.  Publisher’s  state. 

Signed:  Hiroshige. 

654.  Shono  (No.  46). 

A  bontire  built  bet\  two  leafless  trees.  A  village  in  tne  distance. 
fresh  impression.  The  i  Lite  paper  fairly  glistens. 

Artist’s  impression.  Publisher’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXV) 


A 


<D  . 


655.  Kameyama  (No.  47).  ' 

A  moat  before  a  castle.  Travelers  and  pine  trees  on  a  yellow  ground. 
Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


656.  Held  (No.  48). 

A  snow  scene.  A  Torii  with  stone  lanterns  on  each  side.  Hiroshige’s  dia- 


mond  seal. 

Fine  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


Second  Afternoon  Session 


/> 


657. 

Sj 


Mizn  Knchi  (No.  51). 

A  narrow  road  between  green  hills, 
clouds  beyond.  An  attractive  design. 


A  man  leading  an  ox ;  white,  fluffy 


Fine  impression.  Collector's  state. 


Signed:  Hiroshige. 


658.  Ishibe  (No.  52). 

The  interior  of  an  inn.  A  tree  and  stone  lantern. 
Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


HIROSHIGE  AND  YE  [SEN 

The  Sixty-nine  Stations  of  the  KisoJcaido,  the  inland  route  between  Yedo  and 
Kyoto.  An  important  series  of  masterpieces,  some  plates  by  Hiroshige  and  some  by 
Keisai  Yeisen.  Full-size  horizontal  plates.  Fine  impressions  of  the  original  edition 
are  rare. 

The  descriptions  follow  the  Happer  catalogue. 


/> 


659. 

.c e 


A 


TJrawa  Station.  ^  ^ r 

By  Yeisen.  In  the  foreground  a  peasant  leads 'a  pack  horse,  while  a 
traveler  with  an  attendant  porter  leisurely  plods  along.  In  the  background 
is  the  volcanic  Mount  Asama,  with  smoke  issuing  from  its  crater;  by 
Yeisen,  sealed  Taki-TJchi-Hoyeido.  (No.  4.)  Rich  in  color, 
rtist’s  impression.  Collector's  state. 


660.  Omiya  Station. 


/-y 


By  l^eisen.  Fuji  appears  in  the  background;  in  the  foreground  a  traveler, 
carried  in  a  Kago,  journeys  comfortably.  Cherry  trees  are  in  full  bloom  : 
sealed  Hoyeido,  no  signature.  (No.  5.) 

Artist’s  impression.  Collector's  state. 


661.  Hon  jo  Station. 


By  Yeisen.  Crossing  of  the  Shinryu  River.  Part  of  the  river  is  spanned 
bv  a  plank  and  post  bridge,  over  which  a  Pnimyo  cortege  is  passing;  the 
deeper  section  of  tlm  stream  requires  ferry  boats.  Yellow,  orange  and  blue 
hills  fill  the  horizon;  no  signature,  no  seal,  except  the  plate  number  in 
red.  (No.  11.) 

Fine  impression.  Collector’s  state. 


662. 


A 


A 


Itabana  Station. 

By  Yeisen.  A  snow  scene.  The  rosy  horizon  accentuates  its  snowy  lust 
Yeisen,  when  at  his  best,  was  capable  of  grand  work,  and  is  the  peer  of 
Hiroshige:  sealed  Ikenaka  Tseiri :  not  signed.  (No.  15.) 
peculiar  feature  of  the  plate  is  that  the  title  is  in  Hiroshige's  script;  this ,  with 
the  absence  of  any  signature,  might  cause  confusion  were  the  style  not  un¬ 
mistakably  Yeisen. 
rtist's  impression.  Collector's  state. 


Second  Afternoon  Session 


663.  Matsuida  Station. 


a,.  J. 


7 


By  Hiroshige.  A  print  in  which  blue  and  spring-green  are  the  prevailing 
5^Ji-  colors.  Along  a  hillside  are  travelers  and  pack  horses ;  a  tiny  wayside 

shrine  with  its  votive  dags  stands  beneath  an  old  tree;  an  orange  glow 
lights  up  the  background;  signed  Hiroshige  and  Ichiryusai  in  seal,  Kin- 
judo  seal  (No.  17).  A  striking  composition. 

Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


664.  Sakamoto  Station. 


By  Hiroshige.  (?)  Along  the  side  of  a  narrow  rapid  stream,  probably  an 
artificial  channel  to  bring  water  to  the  village,  is  a  row  of  small  houses 
•  with  blue,  yellow  and  slate  roofs;  at  the  back  a  sugar-loaf  hill,  green 

streaked  with  brown,  covers  the  greater  part  of  the  block;  sealed  Iseiri 
(No.  18). 

In  the  absence  of  signature  it  is  difficult  to  rightly  determine  the  artist.  Like 
No.  16,  the  title  is  Hiroshige  script,  arid  while  the  picture  may  be  Y risen,  we 
place  it  as  Hiroshige,  (llapper.)  Mr.  llappcr  attributes  this  plate  to  Hiroshige.  It 
strikes  me  that  it  should  be  Yeisen. 

Good  impression.  Collector's  state. 


665.  Kutsu  Kake  Station. 


By  Yeisen.  Yeisen’s  best  rain  storm,  a  fit  companion  to  any  of  Hiroshige’s 
rain  scenes;  (No.  20). 

Good  impression.  Collector's  state. 


A 


C 


666.  Shionada  Station. 

By  Hiroshige.  A  perfect  landscape,  hills,  streafn7  and  trees,  the  sky  suf¬ 
fused  with  the  after-glow  of  a  summer’s  sxinset,  while  darkness  falls  heavily 
on  the  distant  hills;  in  a  thatched  house  coolies  nearly  nude  are  resting, 
'•  a  group  of  three  chat  together  as  they  walk;  signed  Hiroshige,  sealed 

Ichiryusai  Kinjudo  (No.  24).  Exceedingly  rare  and  beautiful  in  this 
printing ;  a  great  treasure. 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XVfH)  < 


667.  Mochiznki  Station. 


/] 

CK 


0. 


By  Hiroshige.  A  row  of  rugged  gnarled  pines  line  the  road,  and  are  dimly 
visible  in  the  valley  beyond,  the  full  moon  lights  up  the  scene  except  in 
the  deep  blue  at  the  oase  of  thfe  hills;  signed  Hiroshige,  sealed  Kinjudo 
Ichiryusai  (No.  20). 

Artist's  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


/  . 


_ _  ^  L^.  £<-<^Le _ 

668.  Ashida  Station. 

By  Hiroshige.  A  very  odd  plate ;  the  green,  blue  and  red-brown  blocks  are 
in  continuous  sheets,  except  where  the  grey  road  cuts  into  the  green  block, 
y^"  resembling  stage  scenery  as  it  projects  in  successive  planes  from  the  wings ; 

the  effect,  however,  is  not  unpleasing;  signed  Hiroshige,  sealed  Ichiryusai, 
Kinjudo  (No.  27).  A  daring  and  effective  design. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


669.  Nagakubo  Station. 


By  Hiroshige.  Moonlight  and 
Ichiryusai  (No.  28). 

Fine  impression.  Collector' s  state. 
Signed:  Hiroshige. 


mist ; 


Jf  x? 

signed  Hiroshige,  seals  Kinjudo. 


670.  Shiojiri  Toge. 


By  Yeisen.  This  is  a  pass  leading  away  from  Kuwa  Lake  depicted  covered 
with  ice;  in  the  foreground  travelers  are  admiring  the  unusual  sight  of 
men  and  horses  crossing  the  ice,  the  surrounding  hills  are  snow-covered, 
and  Fuji  appears  in  the  background.  (No.  31.) 

Fine  impression.  Publisher’s  state. 


-<sc 


671.  Semba  Station.  ^ 

By  Hiroshige.  A  delicate  summer  scene.  (No.  32.)  A  supreme  print.  One 
X/o.  of  Hiroshige’s  finest  designs  in  exquisite  greens,  grays,  yellows,  pinks  and 

blues. 

Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XV 111) 


672.  Motoyama  Station. 


yy 


By  Hiroshige.  In  a  gap  between  two  hills  a  huge  tree  has  fallen  across 
Ike  road,  the  wreckage  of  a  typhoon,  temporarily  propped  up;  under  it  sit 
two  sawyers,  smoking;  signed  Hiroshige  Gwa,  seals  Ichiryusai,  Kinjudo 
(No.  33). 

Fine  impression.  Collector’s  state. 


yy 


673.  Atsukawa  Station. 


Bv  Hiroshige.  Again  a  comfortable  inn  is  found  after  the  mountain  climb; 


here  are  the  various  travelers  resting;  interesting  in  itself,  it  is  most  valu¬ 
able  for  the  bits  of  information  on  the  sign-boards;  signed  Hiroshige,  seals 
Kinjudo,  Ichiryusai  (No.  34). 

On  the  sign-boards  are  the  names  of  the  engraver  Matsushima  Fusajiro  and 
printers  Matsumura  Yasugoro  and  Kameta  Ichitaro;  there  is  no  date.  The  number 
of  the  plate,  instead  of  being  in  a  red  seai,  as  on  all  other  plates,  is  on  the  horse 


cloth. 

Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


Second  Afternoon  Session 


674.  Miyanokoshi  Station. 


By  Hiroshige.  The  finest  picture  of  mist  and  moonlight  of  any  known  print : 
the  poetry  of  calm  moonlight  softened  by  the  mists  of  the  valley  is  faith- 
fully  represented,  only  an  artist-poet  could  thus  fix  indelibly  the  evanescent 
scene;  signed  Hiroshige,  seal  Iehiryusai.  (No.  37). 

Fine  impression.  Collector's  state. 


Signed:  Hiroshige. 


675.  Fnknsliima  Station. 

Bv  Hiroshige.  A  place  of  some  importance;  the  picture  shows  the  entrance 
to  the  town  between  green  banks  through  a  barrier  gate  and  a  guard  house; 
the  blue  and  green  are  rich  colors,  grand  old  trees  project  on  either  side 
of  the  road:  seals  Kinjudo,  Iehiryusai  (No.  38). 

Fine  impression.  Publisher's  state. 

Signed:  Hiroshige. 


676.  Suwara  Station. 


By  Hiroshige.  A  sudden  shower,  coolies  rush  to  the  tea  house  for  shelter: 
in  the  misty  background  a  horseman  and  attendant  pull  straw  mats  over 
their  heads  as  protection  from  the  rain;  in  the  tea  house  one  of  the 
travelers  takes  the  opportunity  to  write  on  the  smooth  wooden  post;  seals 
Iehiryusai,  Kinjudo  (No.  40). 

Fine  impression.  Publisher's  state. 

Signed :  Hiroshige. 


677.  Santono  Station. 


By  Hiroshige.  A  foreground  of  golden  Suzuki  grass,  beyond  a  rounded 
green  hillock  crowned  with  flowering  plum-trees,  and  two  wooden  Torii 
over  the  path  to  a  shrine;  seals  Iehiryusai,  Kinjudo  (No.  421.  In  brilliant 
state. 

Fine  impression.  Publisher's  state. 

Signed:  Hiroshige. 


//O. 


.  y.  y?  u  .t  .=  ,7  <■  <  y . 


678.  Oi  Station. 

By  Hiroshige.  While  snow  does  not  last  long  in  tne  part  of  Japan  covered 
by  the  Kiso  Kaido,  yet  heavy  snowfalls  are  not  uncommon  during  January 
to  March;  there  is  no  finer  representation  of  falling  snow  in  any  of  his 
other  series;  sealed  Iehiryusai  (No.  47). 

Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 


(579.  Ontake  Station. 


Jy/. 


By  Hiroshige.  A  mountain  tea-house  at  the  top  of  the  pass  with  charac¬ 
teristic  groups  of  peasants  and  travelers;  in  the  distance  are  lofty  peaks: 
perfect  condition,  fine  color;  sealed  Iehiryusai  (No.  50). 

Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


680.  Unuma  Station. 

By  Yeisen.  On  the  right  a  hne  castle  and  tower  with  its  huge  stone 
battlements  overlook  the  river  and  surrounding  country;  in  the  left  distance 
loom  up  the  peaks  of  Inu  Yama ;  not  signed,  sealed  Hoyeido  (No.  53). 
Artist’s  impression.  Publisher’s  state. 


681.  Akasaka  Station. 

By  Hiroshige.  Against  a  graded,  slate-grey  sky  the  leafless  trees  stand 
^  sharply  limned ;  the  yellow  roofs  contrast  strongly  with  the  green  cloak 

of  the  traveler  crossing  a  rustic  bridge ;  a  tine  composition  with  striking 
color  (No.  57). 

Fine  impression.  Collector’ s  state. 

Signed:  Hiroshige. 


682.  Tarui  Station. 


CP. 


By  Hiroshige.  Up  and  out  of  an  avenue  of  lofty  trees  comes  the  noble  with 
his  retinue;  stone  faced  walls  indicate  the  importance  of  the  town.  On 
either  side  are  comfortable  tea-houses.  It  is  raining  hard,  and  straw  rain¬ 
coats  are  plentiful;  seal  Ichiryusai  (No.  58). 

Note  the  prints  in  the  tea-houses ;  prints  pasted  on  lime-plastered  walls  soon 
lose  their  color. 

Artist’s  impression.  Publisher's  state. 

Signed:  Hiroshige 


683.  Echigawa  Station. 


By  Hiroshige.  The  bridge  over  the  Echi  river  is  intact,  and  travelers 
are  crossing  it.  On  the  bank  two  pilgrims  in  white,  with  huge  green  hats, 
are  most  effective;  distant  hills  are  streaked  with  mist,  and  daybrefili 
lights  up  the  blue  sky;  sealed  Ichiryusai  (No.  66). 

Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 


684.  Busa  Station. 

By  Hiroshige.  Numerous  and  varied  are  the  bridge^/ shown  in  this  series; 
here  is  a  bridge  of  boats  over  a  narrow  but  rapid  stream ;  on  either  shore 
bamboo-grass  waves  gracefully  in  the  wind;  in  the  background  is  a  small 
house  where  toll  is  taken  for  crossing,  and  varied  types  of  humanity 
appear  on  the  bridge  (No.  67).  This  plate,  like  the  foregoing,  is  number 
66.  It  should  be  as  here. 

Fine  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


OMI  HAKKEI 

Eight  views  of  Lake  Biwa 

A  complete  set  of  eight  full-size  horizontal  plates.  Illuminated  poem  in  a  square ; 
publisher,  Yeisendo.  “ Eight  Views.”  The  Eight  Vie  tvs,  originally  subjects  of  Chinese 
poetry,  were  eagerly  adopted  and  ascribed  to  various  picturesque  scenes  in  Japan. 
Wherever  the  locality,  the  themes  were:  Evening  Snow;  Autumn  Twilight  Moon; 
Evening  Rain;  Vesper  Bells;  Boats  Returning  to  Their  Berths;  Ceese  Flying  to  Rest 
in  the  Marshes;  the,  Sun  Setting  in  Splendour ;  Clearing  Skies  After  a  Day  of  Storm. 
Kyoto  praised  the  appropriate  setting  afforded  by  Lake  Biiva,  called  Omi  Hakkei, 
Omi  being  the  name  of  the  province;  Yedo  claimed  equally  beautiful  scenes  in  its 
vicinity;  while  both  admired  Kanazawa,  the  land-locked  inlet  in  Yedo  Bay. 


085.  Seta,  Sunset. 


The  long  bridge  afforded  a  magnificent  outlook. 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


r. 


686.  Geese  at  Katada. 


A 


The  title  theme  is  a  mere  suggestion  of  geese;  here  are  a  golden  sky, 
picturesque  boats. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 

(Illustrated,  plate  XVIII) 


'V 


37 


7K 


687.  Ishiyama,  Moon. 

Rocky  wooded  cliffs  tower  on  the  left;  far  in  the  distance  roundecf  hills, 
partly  veiled  in  mist,  encircle  the  lake;  a  sheen  of  light  is  just  tinged  with 
blue  in  the  shadows,  its  broad  surface  divided  by  a  mere  hint  of  the  long 
bridge  of  Seta ;  the  sky  shades  from  light  to  dark  blue,  out  of  which  the 
full  moon  shines. 

Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


688.  Karasaki,  Evening  Rain. 


JO. 


The  famous  old  pine  tree,  its  wide-spreading  limbs  supported  by  a  forest 
of  posts,  is  surrounded  by  deep  blue  water,  and  veiled  in  a  tropical  downpour. 
The  sea  wall  is  in  blue,  the  usual  printing. 

Artist’s  impression.  Collectoi-'s  state. 

Signed:  Hiroshige. 


ytf 

689.  The  Same. 

The  sea  wall  is  printed  gray — a  rare  print. 
Artist’s  impression.  Collector’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


690.  Mt.  Hira,  Snow. 


JfcC 


The  grand  slopes  of  Ilira  are  thickly  covered  with  snow ;  the  blue  of  an  arm 
of  the  lake  is  the  only  color. 

Artist’s  impression.  Collector' s  state. 

Signed :  Hiroshige. 


691.  Mii,  Vesper  Bells. 


On  a  densely  wooded  hill  stands  Mii  Temple;  the  mists  of  evening  hang 
over  the  valleys;  a  spot  dearly  loved  by  Fenollosa.  He  was  buried  here. 
Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


692 


Yabashi,  Returning  Boats. 


Boats  are  coming  to  their  anchorage,  some  dropping  their  sails,  others 
headed  for  the  far  shore;  belated  ones  are  mere  blocks  of  white  on  the 
striated  water ;  over  all  a  golden  cloud-streaked  sky ;  deep  blue  hills  stand 
sharply  outlined  against  the  vapor  rising  almost  to  the  summit  of  the 
mountain.  A  brilliant  print. 

Artist’s  impression.  Publisher’s  state. 

Signed :  Hiroshige. 


693.  Clearing'  Weather  at  Awazn. 


jr* 


■*  ”  V.....,  ,  ...  ..  - ^ 

White  sails,  blue  water,  curving  shore  line,  streaks  of  mist,  and  hills 
against  a  last  lingering  glow  of  light. 

Artist’s  impression.  Good  state. 

Signed :  Hiroshige. 


crey 


YOSHITSUNE  ICH1DAIKI 

“Biography  of  Yoshitsune” 


Complete  series  of  ten  full-size  horizontal  plates :  published  by  Sano  ya  Kihei, 
with  the  stamp  Sen  Kakudo:  each  signed  Hiroshige;  some  plates  are  numbered  and 
some  are  not.  The  numbering  is  not  in  chronological  order  and  has  been  disregarded 
in  the  following  arrangement.  This  set  is  rare,  especially  in  the  impressions  shown 
here.  It  is  one  of  the  finest  seme*  issued.  The  story  of  Yoshitsune  is  full  of  romance 
and  historical  interest. 


694.  Tokiwa’s  Flight  With  Her  Children. 


After  the  murder  of  their  father.  Yoshitomo,  pursued  by  Kiyomoi.  A  snow 
scene  with  beautiful  bamboos  bending  over  under  the  weight  of  snow, 
c (No.  i.) 

Artist’s  impression.  Collector's  state. 

Signed:  Hiroshige. 


(Illustrated,  plate  XVII) 


Second  Afternoon  Session 


695.  Ushiwaka  Learning  to  Fence. 

Under  tlie  instructions  of  Sojobo,  the  king  of  the  Tengus  at  KuramayanG ; 
a  forest  scene  at  night  (No.  2).  A  superb  print  of  strong  dramatic  design 
and  fine  color. 

Artist's  impression.  Publisher's  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XVII) 


696.  Visiting  Ise  no  Sabnro  by  Night 

(No.  3.) 

cT  Artist's  impression.  Collector's  state. 

'  Signed:  Hiroshige. 


/i/.  ^  ■ 


/> 


(>97.  Ushiwaka  With  Jornri  Hime. 

He  persuaded  the  daughter  of  the  great  Taira  tactician  Kiiclii  Hogen  to 
let  him  see  her  father’s  books  on  war.  A  fine  moonlight  scene  (No.  4). 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


7T  , 


/ 


7 


698.  Combat  With  the  Priest  Sliirawaka  No  Tankai. 

On  the  steps  of  the  Gojo  Temple.  A  moonlight  scene  of  great  dramatic 
S~ 7*  power  (No.  5). 

Artist's  impression.  Good  state. 

Signed:  Hiroshige. 


/> 


699.  The  Defeat  of  Benkai  on  Gojo  Bridge. d  T^*^^*^** 


A  night  scene  with  the  moon  half  hidden  by  a  hill. 
ject  of  the  print  artist.  (No.  6.) 

Artist's  impression.  Ordinary  state. 


This  is  a  favorite  sub 


700.  Killing  Yoiclii  at  Keage  toge. 


A  mountain  scene  by  a  water  fall. 
/ design. 

Artist's  impression.  Collector's  state. 
Signed:  Hiroshige. 


(No.  7.)  A  brilliant  plate  of  strong 


e/r 


/#■ 


701.  The  Battle  of  Misukayama. 

Yoshitsune  defeating  the  Taira  by  a  night  attack  in  1184. 
unusual  and  effective  composition. 

Artist's  impression.  Collector's  state. 

Signed :  Hiroshige. 


(No.  8.)  An 


702.  Scaling  the  Cliffs  at  Hiyodori  Goye. 

Surprising  the  castle  of  Ichi  no  tani.  (No.  9.) 
ing  one  of  Hokusai  in  the  treatment  of  the  rocks. 
Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


A  daring  design  remind- 


Second  Afternoon  Session 


703.  The  Sakoatoshi  at  I  chi  no  tani. 


37 


“The  Slipping  Down”  on  the  castle  where  the  Taira  were  defeated  in 
1184.  (No.  10.) 

Artist's  impression.  Collector' s  state. 

Signed:  Hiroshige. 


BIRDS  AND  FLOWERS 

Panels  about  1/  inches  by  13  inches. 


/7 


704. 


Kingfisher. 

A  perfect  print.  Hiroshige  seal. 


Artist's  impression.  Publisher’s  state. 


T) .  Su  -  ~  • 


( Illustrated ,  plate  XXVII) 


/<srr 


705.  Kingfisher  and  Wild  Iris. 

Good  impression.  Collector's  state. 
Signed :  Hiroshige. 


/O- 


706.  Kingfisher  on  a  Flowering  Branch. 

Fine  impression.  Collector's  state. 

Signed:  Hiroshige. 


707.  Bine  Bird  and  Passion  Flower.  ,y/r~  Mr ^7? ^  fl 

Fine  impression.  Publishers  state.  // 

3*.  Signed:  Hiroshige. 

708.  Long-tailed  Bird  Poised  Above  a  Flowering  Maple. 

/  -p  SjA  Good  impression.  Good  state. 

S  Signed:  Hiroshige. 


709.  A  Gray  Bird  and  Morning  Glories. 

—  Late  impression.  Collector’s  state. 

/  Signed :  Hiroshige. 


?7 


710.  Gray  Bird  and  Spray  of  Pink  Blossoms; 

A  fine  design.  7T.Tr. 


So 


Fine  impression.  Publisher’ s  state. 
Signed:  Hiroshige. 


*7 


711.  A  Small  Green  and  Gray  Bird  and  Poppy. 

A  rare  and  fine  design,  in  colors  as  when  printed,  y,  ,, 
—  Artist's  impression.  Collector's  state. 

Signed:  Hiroshige. 


( Illustrated ,  plate  XXVII) 


Second  Afternoon  Session 


712.  Quail  and  Poppy. 

A  noted  print  in  soft  color. 

Artist's  impression.  Collector' s  state. 

Signed :  Hiroshige. 

(Illustrated,  plate  XXVI) 


713.  Sparrows  and  Poppy. 

A  fascinating  design. 

Artist’s  impression.  Collector' s  state. 
Signed:  Hiroshige. 


‘T 


714.  The  Same. 


/> 


A  stronger  printing. 

Fine  impression.  Collector’s  state. 
Signed :  H ir oshige. 


715.  A  Green  Bird  and  Peach  Blossoms. 


A  delicate  blue  ground.  A  fascinating  stud!/  in  lines.  A  rare  print. 
Artist’s  impression.  Publisher’s  state. 

Signed:  Hiroshige. 

( Illustrated ,  XXVI) 


716.  Green  Bird  and  Peach  Blossoms. 


S° 


Note  the  grain  of  the  wood. 
Ai'tist’s  impression.  Collector’ s  state. 
Signed:  Hiroshige. 


7T.  sr 


717.  Snow  Birds. 


A  gray  background. 

Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


718.  Duck  and  Bamboo  in  Snow. 


Prints  are  rarely  seen  in  this  brilliant  sparkling  state.  One  of  the  gems 
of  the  collection. 

Artist's  impression.  Publisher’ s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXVII) 


719.  Two  Ducks  Swimming.  /  a  * 

Snow  flakes  falling  around  them:  the  water  a  heavenly  blue.  An  exquisite 
piece  of  color. 

Artist's  impression.  Publisher’s  state. 

Signed:  Hiroshige. 


Second  Afternoon  Session 


720.  Two  Dncks. 


Fine  impression.  Collector’s  state. 
Signed:  Hiroshige. 


a. 


721.  Sanderlings. 


“Sanderlings  that  on  moonlit  eves 
Over  the  wave  crest  swoop  and  play.” 
Two  sanderlings  flying  before  the  moon. 
Good  impression.  Collector’s  state. 

Signed :  Hiroshige. 


A  striking  design. 


/> 


722.  Snow  Birds  and  Bamboo.  s'* 

STO  A  deep  blue  background  flecked  with  snow  flakes. 

Good  impression.  Collector’s  state. 

Signed:  Hiroshige. 


723.  Geese. 


“Wild  geese  that  rush  across  the  moon.” 
Good  impression.  Good  state. 

Signed :  Hiroshige. 


* 


724.  Canary  and  Rose. 

The  grag  and  white  mottled  background  is  both  unuskhl  and  effective 
^  Fine  impression.  Collector’s  state. 

Signed:  Hiroshige. 

(Illustrated,  plate  XXVII) 


A  7 


725.  Canary  and  Wild  Rose. 

S'*  Fine  impression.  Collector's  state. 
Signed:  Hiroshige. 


726.  Sprays  of  Wild  Rose  Without  Birds. 


Good  impression.  Publisher’s  state. 
Signed:  Hiroshige. 


727.  Rooster  and  Hydrangea. 

Good  impression.  Collector's  state. 
Signed:  Hiroshige. 


?r  ?r- 


be. 


728.  Long-tailed  Gray  Bird. 

A  red  flower. 

Fine  impression.  Collector’ s  state. 
Signed:  Hiroshige. 


Second  Afternoon  Session 


/> 


729.  Ducks  and  Rushes. 

Good  impression.  Collector's  state. 
Signed :  Hiroshige. 


20. 


730.  Long-tailed  Bird. 

Fine  impression.  Collector' s  state. 
Signed:  Hiroshige. 


7^ t^C J^A***/ 


3z 


731.  Bird  and  Flowering  Maple. 

Late  impression.  Collector's  state. 
Signed :  Hiroshige. 


/o. 


732.  Gray  Bird. 

It  is  clinging  to  a  flowering  branch. 
.  Good  impression.  Publisher's  state. 
Signed:  Hiroshige. 


733.  Two  Swallows  and  Wistaria. 


2^ 


Artist's  impression.  Publisher's  state. 
Signed:  Hiroshige. 


'7rJ- 


734.  Brown  Bird  and  Passion  Flower. 


Good  impression.  Publisher's  state. 
Signed:  Hiroshige. 


6 


735.  Two  Brown  Birds. 

Fine  impression.  Publisher' s  state. 
Signed:  Hiroshige. 


736.  Green  Bird  on  a  Flowering  Branch. 


A  fine  bold  design. 

Good  impression.  Publisher’s  state. 
Signed :  Hiroshige. 


Ayr)  36" 


737.  Green  Bird  on  a  Flowering  Branch. 


Fine  impression.  Collector’s  state. 
Signed :  Hiroshige. 


Jt 


6~  f/"3 

7* 

/  f  *>  40 


Plate  I 


I 


Plate  II 


300 


Plate  111 


43 


295 


312 


Plate  IV 


52 


503 


51 


Plate  V 


543 


■  ■ 


539 


548 


Plate  VI 


564 


538 


Plate  VII 


523 


544 


Plate  VIII 


272 


580 


Plate  IX 


804 


Plate  X 


274 


276 


277 


Plate  XI 


520 


314 


56 


Plate  XII 


63 


54 


60 


f  r\' 


Plate  XIII 


320 


531 


511 


Plate  XIV 


37 


512 


517 


5.' 


Plate  XF 


596 


Plate  XVI 


Mx.  ><• 
"«s,  &  -V 

'h 

K 


*  ■"  % 


f?r  ■ 


Plate  XVII 


Plate  XV III 


Plate  XIX 


Plate  XX 


346 


Plate  XXI 


175 


202 


Plate  XXII 


391 


382 


Plate  XXIII 


« 

■? 


402 


364 


Plate  XXIV 


351 


248 


/}  iK  4-  '  V 

k  *  " 

% 


tr 


/  ' 


630 


-v 


602 


603 


Plate  XXF 


654  477 


Plate  XXVI 


712  242  715  335 


Plate  XXVII 


724 


246 


711 


